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1964 INDUSTRIAL CONSTRUCTION BUILDING ARTHUR GETZ ART NEW YORKER COVER FC1244 DATE OF THIS ** ORIGINAL ** ITEM: 1964ILLUSTRATOR/ARTIST: Arthur Kimmig Getz (May 17, 1913 – January 19, 1996) was an American illustrator best known for his fifty-year career as a cover artist for The New Yorker magazine. Between 1938 and 1988, two hundred and thirteen Getz covers appeared on The New Yorker, making Getz the most prolific New Yorker cover artist of the twentieth century. Getz was also a fine artist, painted murals for the Works Progress Administration Program, wrote and illustrated children’s books, and taught at the School of Visual Arts in New York City, the University of Connecticut, and the Washington Art Association in Washington, Connecticut. In addition to his New Yorker covers and spot drawings, Getz’s illustrations were published in American Childhood, Audubon, Collier’s, Consumer Reports, Cue, Esquire, Fortune, The Nation, The National Guardian, The New Masses, The New Republic, PM, Reader’s Digest, Saturday Review, Stage, and The Reporter. Arthur Getz was born in Passaic, New Jersey, the son of Madeline Kimmig Getz and Anthony Getz. He attended Pratt Institute in Brooklyn, New York, on a full scholarship, and graduated with honors in 1934 from Pratt’s School of Fine and Applied Art. His very first cover illustration for The New Yorker was printed on July 23, 1938. After serving in the Philippines during World War II as a First Lieutenant of Field Artillery, Getz returned to New York City and resumed his work as an artist, soon becoming one of the more regular contributors to The New Yorker. During the 1950s and 1960s it was not unusual for more than one Getz cover to be printed on The New Yorker during a single month. The writer John Updike, in his foreword to The Complete Book of Covers from The New Yorker, 1925 – 1989, wrote: “The artist who has contributed most covers is Arthur Getz, whose alert eye and confident brush find endless silent dramas of contrast and tone in the world around us; beginning in 1938 and still producing, he has thus far published two hundred and thirteen.” Lee Lorenz, the former Art Editor of The New Yorker, wrote of Getz: “[He] seems to have found his particular subject, the special light of Manhattan … Arthur’s paintings are a chronicle of New York’s moods to be set alongside Guardi’s paintings of Venice.” Lorenz also wrote of Getz, “He drew inspiration equally from the night clubs of Manhattan and the apple orchards of New England, but his covers, taken as a group, seem really to be about the joy of painting itself.” In addition to his work as an illustration artist, Getz continued to pursue fine art painting. In 1960 he was offered a one-man show at the Babcock Gallery in New York City. The gallery director requested that Getz, already well known for his covers, exhibit his fine art under a different name, concerned that Getz’s association with “commercial” (illustration) art would hinder his recognition as a fine artist. Getz used his middle name, Kimmig, for his signature on his fine art work. Many paintings from this era are signed “Kimmig”; some Getz re-signed later and are signed both “Kimmig” and “Getz.” In 1963 Getz and his first wife, Margarita Gibbons, were divorced. Getz later married writer Anne Carriere, and shortly after relocated from New York City to Sharon, Connecticut in 1969, where Getz lived until his death in 1996. His move to Connecticut marked a shift in the mood of his New Yorker covers from the city-centered work of his past. He began to depict more rural scenes of the countryside, familiar to the growing commuter and weekender populations. During this time Getz also wrote and illustrated four children’s books and illustrated numerous others, including Jennifer’s Walk, authored by Anne Carriere (Getz and Carriere divorced in 1973). On August 29, 1988, Getz’s 213th and final New Yorker cover was printed. Though a stroke rendered Getz blind in one eye in 1994, he continued to paint and draw until his death on January 19, 1996, at the age of 83.SPECIAL CHARACTERISTICS/DESCRIPTIVE WORDS: The New Yorker (stylized in all caps) is an American magazine featuring journalism, commentary, criticism, essays, fiction, satire, cartoons, and poetry. Founded as a weekly in 1925, the magazine is published 47 times annually, with five of these issues covering two-week spans. Although its reviews and events listings often focus on the cultural life of New York City, The New Yorker also produces long-form journalism and shorter articles and commentary on a variety of topics, has a wide audience outside New York, and is read internationally. It is well known for its illustrated and often topical covers, its commentaries on popular culture and eccentric American culture, its attention to modern fiction by the inclusion of short stories and literary reviews, its rigorous fact checking and copy editing, its journalism on politics and social issues, and its single-panel cartoons sprinkled throughout each issue. The New Yorker was founded by Harold Ross (1892–1951) and his wife Jane Grant (1892–1972), a New York Times reporter, and debuted on February 21, 1925. Ross wanted to create a sophisticated humor magazine that would be different from perceivably “corny” humor publications such as Judge, where he had worked, or the old Life. Ross partnered with entrepreneur Raoul H. Fleischmann (who founded the General Baking Company) to establish the F-R Publishing Company. The magazine’s first offices were at 25 West 45th Street in Manhattan. Ross edited the magazine until his death in 1951. During the early, occasionally precarious years of its existence, the magazine prided itself on its cosmopolitan sophistication. Ross declared in a 1925 prospectus for the magazine: “It has announced that it is not edited for the old lady in Dubuque.” Although the magazine never lost its touches of humor, it soon established itself as a preeminent forum for serious fiction, essays and journalism. Shortly after the end of World War II, John Hersey’s essay Hiroshima filled an entire issue. The magazine has published short stories by many of the most respected writers of the 20th and 21st centuries, including Ann Beattie, Sally Benson, Maeve Brennan, Truman Capote, Rachel Carson, John Cheever, Roald Dahl, Mavis Gallant, Geoffrey Hellman, Ernest Hemingway, Stephen King, Ruth McKenney, John McNulty, Joseph Mitchell, Alice Munro, Haruki Murakami, Vladimir Nabokov, John O’Hara, Dorothy Parker, S.J. Perelman, Philip Roth, George Saunders, J. D. Salinger, Irwin Shaw, James Thurber, John Updike, Eudora Welty, and E. B. White. Publication of Shirley Jackson’s “The Lottery” drew more mail than any other story in the magazine’s history. In its early decades, the magazine sometimes published two or even three short stories in an issue, but in later years the pace has remained steady at one story per issue. The nonfiction feature articles (usually the bulk of an issue) cover an eclectic array of topics. Subjects have included eccentric evangelist Creflo Dollar, the different ways in which humans perceive the passage of time, and Münchausen syndrome by proxy. The magazine is known for its editorial traditions. Under the rubric Profiles, it has published articles about prominent people such as Ernest Hemingway, Henry R. Luce and Marlon Brando, Hollywood restaurateur Michael Romanoff, magician Ricky Jay, and mathematicians David and Gregory Chudnovsky. Other enduring features have been “Goings on About Town”, a listing of cultural and entertainment events in New York, and “The Talk of the Town”, a feuilleton or miscellany of brief pieces—frequently humorous, whimsical, or eccentric vignettes of life in New York—in a breezily light style, although latterly the section often begins with a serious commentary. For many years, newspaper snippets containing amusing errors, unintended meanings or badly mixed metaphors (“Block That Metaphor”) have been used as filler items, accompanied by a witty retort. There is no masthead listing the editors and staff. Despite some changes, the magazine has kept much of its traditional appearance over the decades in typography, layout, covers and artwork. The magazine was acquired by Advance Publications, the media company owned by Samuel Irving Newhouse Jr, in 1985, for $200 million when it was earning less than $6 million a year. Ross was succeeded as editor by William Shawn (1951–87), followed by Robert Gottlieb (1987–92) and Tina Brown (1992–98). The current editor of The New Yorker is David Remnick, who succeeded Brown in July 1998. Among the important nonfiction authors who began writing for the magazine during Shawn’s editorship were Dwight Macdonald, Kenneth Tynan, and Hannah Arendt, whose Eichmann in Jerusalem reportage appeared in the magazine, before it was published as a book. Brown’s tenure attracted more controversy than Gottlieb’s or even Shawn’s, thanks to her high profile (Shawn, by contrast, had been an extremely shy, introverted figure), and to the changes she made to a magazine with a similar look for the previous half-century. She introduced color to the editorial pages (several years before The New York Times) and included photography, with less type on each page and a generally more modern layout. More substantively, she increased the coverage of current events and topics such as celebrities and business tycoons, and placed short pieces throughout “Goings on About Town”, including a racy column about nightlife in Manhattan. A letters-to-the-editor page was introduced, and authors’ bylines were added to their “Talk of the Town” pieces. Since the late 1990s, The New Yorker has used the Internet to publish current and archived material, and maintains a website with some content from the current issue (plus exclusive web-only content). Subscribers have access to the full current issue online and a complete archive of back issues viewable as they were originally printed. In addition, The New Yorker’s cartoons are available for purchase online. A digital archive of back issues from 1925 to April 2008 (representing more than 4,000 issues and half a million pages) was also issued on DVD-ROMs and on a small portable hard drive. More recently, an iPad version of the current issue has been released. In 2014, The New Yorker opened up access online to all of its archives, expanded its plans to run an ambitious Website, and launched a paywalled subscription model. “What we’re trying to do,” said Nicholas Thompson, the editor of the Website, “is to make a website that is to the Internet what the magazine is to all other magazines.” The magazine’s editorial staff unionized in 2018 and The New Yorker Union signed its first collective bargaining agreement in 2021. The New Yorker influenced a number of similar magazines, including The Brooklynite (1926 to 1930), The Chicagoan (1926 to 1935), and Paris’s The Boulevardier (1927 to 1932). Cartoons – COMIC ART The New Yorker has featured cartoons (usually gag cartoons) since it began publication in 1925. For years, its cartoon editor was Lee Lorenz, who first began cartooning in 1956 and became a New Yorker contract contributor in 1958. After serving as the magazine’s art editor from 1973 to 1993 (when he was replaced by Françoise Mouly), he continued in the position of cartoon editor until 1998. His book The Art of the New Yorker: 1925–1995 (Knopf, 1995) was the first comprehensive survey of all aspects of the magazine’s graphics. In 1998, Robert Mankoff took over as cartoon editor and edited at least 14 collections of New Yorker cartoons. Mankoff also usually contributed a short article to each book, describing some aspect of the cartooning process or the methods used to select cartoons for the magazine. He left the magazine in 2017. The New Yorker’s stable of cartoonists has included many important talents in American humor, including Charles Addams, Peter Arno, Charles Barsotti, George Booth, Roz Chast, Tom Cheney, Sam Cobean, Leo Cullum, Richard Decker, Pia Guerra, J. B. Handelsman, Helen E. Hokinson, Pete Holmes, Ed Koren, Reginald Marsh, Mary Petty, George Price, Charles Saxon, Burr Shafer, Otto Soglow, William Steig, Saul Steinberg, James Stevenson, James Thurber, and Gahan Wilson. Many early New Yorker cartoonists did not caption their cartoons. In his book The Years with Ross, Thurber describes the newspaper’s weekly art meeting, where cartoons submitted over the previous week were brought up from the mail room to be looked over by Ross, the editorial department, and a number of staff writers. Cartoons were often rejected or sent back to artists with requested amendments, while others were accepted and captions were written for them. Some artists hired their own writers; Helen Hokinson hired James Reid Parker in 1931. Brendan Gill relates in his book Here at The New Yorker that at one point in the early 1940s, the quality of the artwork submitted to the magazine seemed to improve. It later was found out that the office boy (a teenaged Truman Capote) had been acting as a volunteer art editor, dropping pieces he did not like down the far end of his desk. Several of the magazine’s cartoons have reached a higher plateau of fame. One 1928 cartoon drawn by Carl Rose and captioned by E. B. White shows a mother telling her daughter, “It’s broccoli, dear.” The daughter responds, “I say it’s spinach and I say the hell with it.” The phrase “I say it’s spinach” entered the vernacular, and three years later, the Broadway musical Face the Music included Irving Berlin’s song “I Say It’s Spinach (And the Hell with It)”. The catchphrase “back to the drawing board” originated with the 1941 Peter Arno cartoon showing an engineer walking away from a crashed plane, saying, “Well, back to the old drawing board.” The most reprinted is Peter Steiner’s 1993 drawing of two dogs at a computer, with one saying, “On the Internet, nobody knows you’re a dog”. According to Mankoff, Steiner and the magazine have split more than $100,000 in fees paid for the licensing and reprinting of this single cartoon, with more than half going to Steiner. Over seven decades, many hardcover compilations of New Yorker cartoons have been published, and in 2004, Mankoff edited The Complete Cartoons of The New Yorker, a 656-page collection with 2,004 of the magazine’s best cartoons published during 80 years, plus a double CD set with all 68,647 cartoons ever published in the magazine. This features a search function allowing readers to search for cartoons by cartoonist’s name or year of publication. The newer group of cartoonists in recent years includes Pat Byrnes, J. C. Duffy, Liana Finck, Emily Flake, Robert Leighton, Michael Maslin, Julia Suits, and P. C. Vey. Will McPhail cited his beginnings as “just ripping off Calvin and Hobbes, Bill Watterson, and doing little dot eyes.” The notion that some New Yorker cartoons have punchlines so oblique as to be impenetrable became a subplot in the Seinfeld episode “The Cartoon”, as well as a playful jab in The Simpsons episode “The Sweetest Apu”. In April 2005, the magazine began using the last page of each issue for “The New Yorker Cartoon Caption Contest”. Captionless cartoons by The New Yorker’s regular cartoonists are printed each week. Captions are submitted by readers, and three are chosen as finalists. Readers then vote on the winner. Anyone age 13 or older can enter or vote. Each contest winner receives a print of the cartoon (with the winning caption) signed by the artist who drew the cartoon. In 2017, after Bob Mankoff left the magazine, Emma Allen became the youngest and first female cartoon editor in the magazine’s history.ADVERT SIZE: SEE RULER SIDES IN PHOTO FOR DIMENSIONS ( ALL DIMENSIONS IN INCHES) **For multiple purchases please ASK FOR + wait for our combined invoice. Shipping discount are ONLY available with this method. Thank You. At BRANCHWATER BOOKS we look for rare & unusual ADVERTISING, COVERS + PRINTS of commercial graphics from throughout the world. Our AD’s and COVER’S are ORIGINAL and 100% guaranteed — (we code all our items to insure authenticity) —- we stand behind this. As graphic collectors ourselves, we take great pride in doing the best job we can to preserve and extend the wonderful historic graphics of the past. PLEASE LOOK AT OUR PHOTO CLOSELY AS IT IS (ALBEIT LOWER RESOLUTION) THE PRODUCT BEING SOLD…..NOT STOCK IMAGES **NOTE** : PAGES MAY SHOW AGE WEAR AND IMPERFECTIONS TO MARGINS, WITH CLOSED NICKS AND CUTS, WHICH DO NOT AFFECT AD IMAGE OR TEXT WHEN MATTED AND FRAMED. SOMETIMES THE PAGES HAVE BEEN TRIMMED.. PLEASE NOTE THE ACTUAL SIZE OF SELLING AD IN THE ATTACHED PHOTO IMAGE… WHAT YOU SEE IS WHAT YOU GET… We ship via United States Postal Service. We have a 3 day handling time not including weekends or holidays but normally we have all orders processed, packed and shipped within 48 hrs. A Note to our international buyers (Including Canada). Please read before placing a bid or buying an item: **Import taxes, duties and charges are not included in the item price or shipping charges. These charges are the buyer’s responsibility. Please check with your country’s customs office to determine what these additional costs will be prior to bidding/buying on items. 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