Simon Fieldhouse’s Latest 3D Portrait Sculpture: Peter Arno

Next up in artist Simon Fieldhouse‘s New Yorker series: Peter Arno. See the sculpture in various settings here.

And here are his other New Yorker 3D sculptures:

Eustace Tilley

Harold Ross

Saul Steinberg

To see all of his 3D sculptures, go here.

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Frank Cotham Returns As Guest On Cartoon Caption Contest Podcast

Frank Cotham, who began contributing to The New Yorker in 1993, returns to the CCCP in this episode (#248 for those keeping track). Listen here.

photo: clockwise, from top left…Frank Cotham, then the co-hosts Paul  Nesja, Vin Coca, Nicole Chrolavicius, Beth Lawler. 

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Paul Karasik Presents…

From The Vineyard Gazette, April 23, 2026, “Film Noir Takes Center Stage” — this piece on films and Mr. Karasik, who began contributing to The New Yorker  in 1999.  Visit his website here.

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The Monday Tilley Watch takes a glancing look at the art and artists of the latest issue of The New Yorker

The Cartoonists and Cartoons

Fifteen cartoons, fifteen cartoonists. No newbies. One duo, that we know of (the Spill counts duos as one cartoonist). The longest active cartoonist contributor in the issue is Roz Chast, whose first New Yorker cartoon appeared in the issue of July 3, 1978.

This week’s cartoons (in a slideshow).

The Cartoon Caption Contest (Hartley Lin provides the drawing for this week’s contest).

The Rea Irvin Talk Watch 

This week marks the 9th “anniversary” of Rea Irvin’s perfect Talk heading (above) disappearing from The New Yorker (only to be replaced — if you can believe it! — by a redrawn version courtesy of a contemporary illustrator). Using the word “anniversary” seems like a bad fit…here at the Spill it’s head shaking time. The abandonment of Mr. Irvin’s work continues to haunt. Read more here.

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Rea Irvin’s A-Z:

Rea Irvin (pictured above. Self portrait above from Meet the Artist) Born, San Francisco, 1881; died in the Virgin Islands,1972. Irvin was the cover artist for the New Yorker’s first issue, February 21, 1925. He was the magazine’s first art and only art supervisor (some refer to him as its first art editor) holding the position from 1925 until 1939 when James Geraghty assumed the title of art editor. Irvin then became art director and remained in that position until William Shawn officially succeeded Harold Ross in early 1952. Irvin’s last original work for the magazine was the magazine’s cover of July 12, 1958. The February 21, 1925 Eustace Tilley cover had been reproduced every year on the magazine’s anniversary until 1994, when R. Crumb’s Tilley-inspired cover appeared. Tilley has since reappeared, with other artists substituting from time-to-time. Number of New Yorker covers (not including the repeat appearances of the first cover every anniversary up to 1991): 179. Number of cartoons contributed: 261.

The Monday Tilley Watch takes a glancing look at the art and artists of the latest issue of The New Yorker

The Cartoonists and Cartoons

Thirteen cartoons, thirteen cartoonists. No newbies. No duos, that we know of. The longest active contributing cartoonist in the issue is this cartoonist (my drawing of a fife-playing bear appears on the Cartoon Caption Contest page with this week’s winning caption).

This week’s cartoons (in a slideshow)

This week’s Cartoon Caption Contest (Robert Leighton provides the latest contest drawing).

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The Rea Irvin Talk Watch

Way back in 2017, Rea Irvin’s 92 year old Talk design (shown here) was yanked and replaced by…I can’t even believe I’m writing this: a redrawn version by a contemporary illustrator. The Spill continues to hope that Mr. Irvin’s work returns. Read more here.

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Rea Irvin’s A-Z Entry:

Rea Irvin (pictured above. Self portrait above from Meet the Artist) Born, San Francisco, 1881; died in the Virgin Islands,1972. Irvin was the cover artist for the New Yorker’s first issue, February 21, 1925. He was the magazine’s first art and only art supervisor (some refer to him as its first art editor) holding the position from 1925 until 1939 when James Geraghty assumed the title of art editor. Irvin then became art director and remained in that position until William Shawn officially succeeded Harold Ross in early 1952. Irvin’s last original work for the magazine was the magazine’s cover of July 12, 1958. The February 21, 1925 Eustace Tilley cover had been reproduced every year on the magazine’s anniversary until 1994, when R. Crumb’s Tilley-inspired cover appeared. Tilley has since reappeared, with other artists substituting from time-to-time. Number of New Yorker covers (not including the repeat appearances of the first cover every anniversary up to 1991): 179. Number of cartoons contributed: 261.

The Monday Tilley Watch takes a glancing look at the art and artists of the latest issue of The New Yorker

The Cartoonists and Cartoons

Eleven cartoons, thirteen cartoonists (Barry Blitt has the cover, and Roz Chast has a “Sketchbook”). No duos, that we know of. No newbies. The longest active contributing cartoonist in the lot is this cartoonist (I began contributing in 1977).

This week’s cartoons (in a slideshow).

This week’s Cartoon Caption Contest (Colin Tom provides the drawing for the latest contest)

The Rea Irvin Talk Watch

If you look through this latest issue of The New Yorker, I guarantee you will not find Rea Irvin’s classic Talk design (shown here) in the magazine. Instead, you’ll see a redrawn(!) version of Mr. Irvin’s work. The redraw showed up in May of 2017, replacing Irvin’s work that had been in place for 92 years. For some inexplicable (to me) reason, the redraw has stayed there ever since. The Spill continues to hope Rea Irvin’s work returns. Read more here. 

Note: We’re in the second week of a double issue (May 11 & 18, 2026) so no new issue for us to thumb through. The regular Monday Tilley Watch will return next Monday, May 18th with a look at the cartoons  appearing in the issue of May 25, 2026. Today , for fun, we’ll time travel to the issue of May 19, 1951. 

                                         75 Years Ago In The New Yorker

Here’s a quick look at a few highlights from long long ago.

I love this Arthur Getz cover. As in so many of his paintings there seems to a story being told; the reader (at least this reader) lingers, thinking about what the heck is going on.

And what’s not to love about this Abe Birnbaum GOAT drawing:

The Talk Of The Town section was headed by, ta-da!, Rea Irvin’s iconic design (read more here about the unfortunate tinkering that began 66 years later :

A terrif bonus at the bottom of the Talk page…this Thurber spot drawing:

Of the many cartoonists represented in the issue here are just a few favorites:

From Anatol Kovarsky:

From Frank Modell:

and finally, this classic from Chon Day:

And I’ll end with this truly wonderful Henry Martin “spot” drawing that ran –postage stamp size!– along with that week’s Current Cinema review.

Looking at James Thurber’s first New Yorker cartoons this morning, it came as quite a surprise that the famous “Thurber dog” did not make an appearance in the magazine until 29 Thurber cartoons had been published in the magazine (I’m not including the ones that showed up in his “Our Pet Department” series. While I love those dogs, they’re not the dog you see above, shown here in eraser form). In fact, not a one of those first 29 Thurber drawings had a dog anywhere in sight. When the classic Thurber dog did show up, in the issue of February 6, 1932, it was not an incidental dog in a cartoon featuring humans. The dog was the star of the show — the main attraction, and it made its debut in a 16 part(!) spread that traveled across the magazine’s gutter. I’ll show you the first part here:

The entire piece can be found in his collections, The Seal In The Bedroom, The Thurber Carnival, and Thurber’s Dogs (to mention just a few). If you have a subscription to The New Yorker you can, of course, find it in the archive, on pages 22-23 of the February 6, 1932 issue. It’s online here as well.

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James Thurber’s A-Z:

James Thurber Born, Columbus, Ohio, December 8, 1894. Died 1961, New York City. New Yorker work: 1927 -1961, with several pieces run posthumously. According to the New Yorker’s legendary editor, William Shawn, “In the early days, a small company of writers, artists, and editors — E.B. White, James Thurber, Peter Arno, and Katharine White among them — did more to make the magazine what it is than can be measured.”

Key cartoon collection: The Seal in the Bedroom and Other Predicaments (Harper & Bros., 1932). Key anthology (writings & drawings): The Thurber Carnival (Harper & Row, 1945). There have been a number of Thurber biographies. Burton Bernstein’s Thurber (Dodd, Mead, 1975) and Harrison Kinney’s James Thurber: His Life and Times (Henry Holt & Co., 1995) are essential. Website

Exhibit Of Interest: Edward Sorel & Madeline Sorel 

Sorry I missed the opening date of this exhibit, but there are still two weeks left to see it. Edward Sorel and his eldest daughter, Madeline Sorel in a joint exhibit of their work. From Kingsborough Community College’s Linkedin :

Father and daughter are now launching a unique joint-show at the college where Madeline has taught illustration for the past 25 years. The Family Line: Edward and Madeline Sorel, seeks to tell the story through each artist’s work of overcoming external influences to develop one’s own voice and in doing so, develop their own sense of self.

The exhibit is at the Kingsborough Art Museum (KAM) at Kingsborough Community College, 2001 Oriental Boulevard, Brooklyn, NY. The show, free and open to the public, runs through May 20.

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 Madeline Sorel, an illustrator, collagist, felt artist and, the past 25 years, professor in Kingsborough Community College’s art department.

Edward Sorel’s A-Z Entry:

Edward Sorel (self-portrait above from a strip appearing in The Nation following the death of Marlene Dietrich. Drawing used by permission of Mr. Sorel). Born 1929. New Yorker work: 1990 – . All of Mr. Sorel’s books are of great interest; Unauthorized Portraits (Alfred A. Knopf, 1997) is particularly essential. Website: edwardsorel.net

                                             Arthur Getz’s Memorial Day Cover

I could be wrong about this, but I believe that this Arthur Getz cover, dated May 30, 1958, is the first Memorial Day themed New Yorker cover (I looked through every end of May issue from 1925 to 1958). The cover shows us  The Eternal Light Flagstaff located in Manhattan’s Madison Square Park, along its west side on Broadway.

The screen grab from Google’s street map shows the monument today (the base mostly obscured by a blossom tree. A few of the buildings Mr. Getz painted remain along Broadway.

Dedicated on Veteran’s Day in the mid 1920s, the monument, according to the New York Department of Records includes a:

star-shaped luminaire at the top of the pole [that] is intended to be lit at all times as an eternal tribute to those who paid the supreme sacrifice. 

More about the Eternal Light Flagstaff here, with history and photos

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Arthur Getz’s A-Z Entry:

Arthur Getz Born, Passaic, New Jersey, 1913; died, 1996. NYer work: 1938 -1988. Primarily a cover artist, he had one cartoon published: March 15, 1958. (You might say his career was a mirror image of George Price’s, who was one of the most prolific cartoonists, with over 1200 published, and one cover). According to the official Getz website, he was the most prolific of all New Yorker cover artists, having 213 appear during the fifty years he contributed to the magazine. The official Getz website, containing his biography.

Another in a series of quick looks at an artist’s very first New Yorker cartoon and their last. 

Here’s one of the 80 or so New Yorker artists who had but one cartoon in the magazine. I call them “One Clubbers” in the Spill‘s A-Z; this fellow appears on every One Clubber’s entry:

Fougasse’s first and his last New Yorker cartoon appeared in the issue of March 28, 1925.

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Fougasse’s A-Z Entry:

Cyril Kenneth Bird  Born, London, December 17, 1887. Died, 1965. New Yorker work: 1 cartoon, March 28, 1925. Known professionally under the name Fougasse, Bird became art editor of Punch in 1937, and assumed the title of editor in 1949. Key book: The Good-Tempered Pencil, A Survey of Modern British and American Humorous Art (Max Reinhardt, 1956).

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More Fougasse:  here and here. A goodly number of original work here at the Chris Beetles Gallery.

  Another in a series of quick looks at an artist’s very first New Yorker cartoon and their last. 

Looking through the Spill’s A-Z this morning, my attention turned to Richard Oldden (1931-1995).  A search immediately turned up this entry on Lambiak Comiclopedia. The entry included a number of things I hadn’t known before including this:

“On 14 May 1973, Oldden and gag writer Sam Gross launched their daily newspaper comic ‘The Genius’ (1973-1977) through King Features Syndicate.”

Reading this brought memories of speaking with Sam on the phone — sometimes long conversations about cartoonists I knew little about. I can still hear Sam, in his distinctive voice, saying “Dick Oldden” this and “Dick Oldden” that (oddly, Sam never mentioned “The Genius” strip).

Checking The New Yorker’s database, I found that the magazine published 72 Oldden cartoons. Here’s the first, from the issue of July 23, 1966:

And here’s the last Richard Oldden New Yorker cartoon, published in the issue of September 6, 1993:

And The Award For (Possibly) Most UnThurberlike Book Cover Goes To…

The 1974 Czechia edition of Thurber’s The 13 Clocks.

Originally published in the US in 1950 by Simon & Schuster, and illustrated by Marc Simont:

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James Thurber’s A-Z Entry:

James Thurber Born, Columbus, Ohio, December 8, 1894. Died 1961, New York City. New Yorker work: 1927 -1961, with several pieces run posthumously. According to the New Yorker’s legendary editor, William Shawn, “In the early days, a small company of writers, artists, and editors — E.B. White, James Thurber, Peter Arno, and Katharine White among them — did more to make the magazine what it is than can be measured.”

Key cartoon collection: The Seal in the Bedroom and Other Predicaments (Harper & Bros., 1932). Key anthology (writings & drawings): The Thurber Carnival (Harper & Row, 1945). There have been a number of Thurber biographies. Burton Bernstein’s Thurber (Dodd, Mead, 1975) and Harrison Kinney’s James Thurber: His Life and Times (Henry Holt & Co., 1995) are essential. Website

Tilley Watch Online, The Week of April 27–May 1, 2026

An end of the week listing of New Yorker artists whose work has appeared on newyorker.com features

Daily Cartoon: Lynn Hsu, Enrico Pinto, (the duo of) Sophie Lucido Johnson and Sammi Skolmoski, Sarah Kempa, Hilary Campbell. See them here (in a slideshow).

Barry Blitt’s Kvetchbook: “Charles And Donald See Eye To Eye”

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Pomp And Circumstance: A slideshow of graduation cartoons (the below, from the great Warren Miller,* is just one of many in this online special feature.

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*Warren Miller’s A-Z Entry:

Warren Miller (photo by Liza Donnelly, NYC, Sept. 1997) Born 1936, Chicago, Ill. The following biographical information comes from The Phoenix Gallery site which hosted a group exhibit of NYer cartoonists work (Lorenz, Harris, Modell, and Miller) in 2007: “Warren Miller studied commercial and fine art at the American Academy of Art, Chicago. He started selling cartoons to Playboy and The New Yorker in 1961 and moved to New York City later that year. Miller’s work has also appeared in Esquire, Punch, Rolling Stone, Audubon, Harvard Business Review, Barrons, Time, Newsweek, The New York Times, and the London Sunday Times. Mr. Miller is a painter and a sculptor as well. He has exhibited his work in a number of shows in the New York area and in the Midwest.” Key collections: All Thumbs (Bobbs-Merrill,1967); Prince and Mrs. Charming (Bobbs-Merril, 1970). New Yorker work: 1959 -.