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.

“His People Simply Happen”

In a 1989 collection, Conversations With James Thurber (University Press of Mississippi) edited by Thomas Fensch, there’s a terrif article, “Melancholy Doodler,” by Arthur Millier (it originally appeared in The Los Angeles Times Sunday Magazine, July 2, 1939). Thurber was forty-four at the time, and in the last year of the best decade of his life, drawings-wise. His eyesight, by May of ’39, had already worsened  to the point of his “struggling to type, read, and draw.”

The article makes no mention of Thurber’s eyesight or his struggles — it rolls along as if all’s well in Thurberland. Here are just a few quotes from the piece (I’d run the whole thing, but don’t want to get into a copyright muddle).

Thurber speaking to Millier:

“You are probably the only person in America who knows I write.” he said bitterly. “They all say: ‘Oh yes, Thurber?–the guy makes those crazy drawings?'”

“i’m not an artist. I’m a painstaking writer who doodles for relaxation. But it’s those doodles they go for…They’ve even labeled me a Dadiast and a surrealist…”

“I almost never have a piece of writing turned down [by The New Yorker]. They print them all — but who reads them? Whereas my drawings — the things people know me for — are often turned down.”

“Captions can make a drawing. Some of my drawings lie around the office for years — waiting for an inspired line.”

Finally, here’s Millier talking about Thurber’s drawings:

“When Thurber begins a drawing of these curious yet strangely familiar people, he rarely knows what they will look like or do. He just lets his hand move with a pencil in it. His people simply happen…”

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–The undated drawing above can be found at Vassar’s Francis Lehman Loeb Art Center.  ________________

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

Thurber Prizes Awarded Tonight In Columbus

From The Columbus Dispatch, May 5, 2026, “Thurber Prize For American Humor To Celebrate Laughter In Literature” [and cartoons!].

The Spill again congratulates Emily Flake for being named the 2026 recipient of the Thurber Prize For American Humor In Cartoon Art. The winner for literature will be announced this evening.

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Latest Addition to The Archives…A Script

A script came this way recently, courtesy of a loyal Spill reader (thank you loyal Spill reader!).

The New Yorker’s 1st Basketball Cartoon and 1st Basketball Cover

With basketball fever gripping Gotham City, I thought it was time to take stock of New Yorker basketball 1sts (cartoon and cover). According to the magazine’s database, the very first New Yorker basketball cartoon appeared in the issue of December 23, 1933. The artist: Robert Day.

Robt. Day’s A-Z Entry:

Robert Day (photo from This Week anthology, 1954) Born, 1900, San Bernardino, California. Died, February, 1985, Gravette, Arkansas. New Yorker work: 1931 -1976. Collection: All Out For the Sack Race! (Random House, 1945).

And according to the database, the first basketball themed cover appeared March 10, 1951. Cover artist: the great Abe Birnbaum:

Abe Birnbaum’s A-Z Entry:

Abe Birnbaum Born, New York City, 1899. Died June 19, 1966, New York City. New Yorker work: 1929 -1974. Mr. Birnbaum began at the New Yorker as a cartoonist, contributing a handful before switching to cover work, of which he produced 141. He also provided spot drawings and illustrations. According to Mr. Birnbaum’s New York Times obit, his work was exhibited at The Philadelphia Museum of Art and the Carnegie Institute.

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MAD‘s Addams & Peter Arno Parodies

Thanks to a Facebook post by the EC Fan-Addict Club, this 1955 MAD Magazine parody of Charles Addams famous Family came to my attention. When I sought out the entire magazine online (MAD No.26 1955), I found this great site that allows us to see every page of back issues. What I found, when paging through, was a Peter Arno parody sitting right next to the Addams parody. Both drawings were executed by MAD artist, Will Elder.

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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 -.

                                                  Happy Birthday, Liza Donnelly!

The Spill sends birthday greetings to long-time New Yorker contributor, Liza Donnelly, seen above attempting to take it easy for a few minutes in Maine a few years ago.

Born in Washington, D.C., then high-tailing it asap to New York City, she has been contributing to The New Yorker since 1979. Among the many hats she wears, the most recent is filmmaker. Her documentary on The New Yorker‘s women cartoonists, Woman Laughing, co-directed with Kathleen Hughes, is making the rounds, festival-wise this year.

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— Drawing above: Donnelly’s first drawing bought by The New Yorker). Although sold in 1979, the magazine didn’t run it until November 22, 1982.

–Photo above: taken by this cartoonist 

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 Roz Chast, whose first New Yorker cartoon appeared in the issue of July 3, 1978.

This Week’s Cartoons (in a slideshow).

This Week’s Cartoon Caption Contest (Benjamin Slyngstad provides the drawing for this week’s contest)

The Rea Irvin Talk Watch

Back in May of 2017, Rea Irvin’s perfect Talk design, shown here, was displaced by — gasp! — a redrawn version executed 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.

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

Peter Kuper’s Spy Vs. Spy Poster For MAD Issue #600

Peter Kuper, who began contributing to The New Yorker in 2011, has posted his Spy Vs. Spy poster appearing in MAD Issue #600 (Mr. Kuper has written and illustrated that feature since 1997).

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Interview Of Interest: Ivan Ehlers.

From Printmag.com, June 12, 2026, “Ivan Ehlers’ Political Cartoons Feel More Important Than Ever.” 

A short interview with Mr. Ehlers who began contributing to The New Yorker in July of 2021. Visit his website here.

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The Tilley Watch Online, June 8-12, 2026

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

Daily Cartoon: Jorge Penne, Ngozi Ukazu, Bob Eckstein, Keith Knight, (the duo of) Jason Chatfield & Scott Dooley.

Artist At Large: Millie von Platen’s “Superstitious Behaviors Of Knicks Superfans”

Sketchbook: Zoe Si’s “Power Play: Behind The Music of ‘Heated Rivalry'”

Barry Blitt’s Kvetchbook: “Looksmaxxing For Dummies”

Exhibit (In Spain!) Of Interest: Andrea Arroyo and Felipe Galindo

An exhibit of work by this married duo. Andrea Arroyo first contributed to The New Yorker in 1992; Felipe Galindo began contributing to The New Yorker in 2002.

Andrea Arroyo’s website.

Felipe Galindo’s website.

–photos courtesy of Ms. Arroyo and Mr. Galindo

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The New York Times On William Steig’s Shrek

Here’s a welcome out-of-the-blue, awkwardly headlined New York Times article by Brian Raftery on William Steig and his most famous creation, Shrek.

“Nobody Once Told Him the World Was Gonna Meme Shrek” 

I have two bones to pick with this otherwise terrif piece — both concern “a thousand illustrations” found in this sentence:

“Steig began selling his art to publications including The New Yorker, to which he’d ultimately contribute more than a thousand illustrations.”

Bone #1: technically, “…more than a thousand…” is correct, but of the very few New Yorker cartoonists who have contributed 1000 or more cartoons to The New Yorker (approximately 20 something out of the approximately 850 cartoonists who have contributed since 1925), only four have contributed in the range of 2000: Steig, James Stevenson, Alan Dunn, and Lee Lorenz. A (perhaps weedsy) feat worth mentioning, at least here on the Spill.

Bone #2: cartoons are not illustrations, and illustrations are not cartoons. The New Yorker has had a 100 year practice of making sure the cartoons in the magazine do not refer to the accompanying text. Illustrations accompany and refer to accompanying text — cartoons do not. Cartoons stand alone — they are graphic islands.

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William Steig’s A-Z Entry:

William Steig (photo above) Born in Brooklyn, NY, Nov. 14, 1907, died in Boston, Mass., Oct. 3, 2003. In a New Yorker career that lasted well over half a century and a publishing history that contains more than a cart load of books, both children’s and otherwise, it’s impossible to sum up Steig’s influence here on Ink Spill. He was among the giants of the New Yorker cartoon world, along with James Thurber, Saul Steinberg, Charles Addams, Helen Hokinson and Peter Arno. Lee Lorenz’s World of William Steig (Artisan, 1998) is an excellent way to begin exploring Steig’s life and work. New Yorker work: 1930 -2003.