cartoons I don't get 13

“Don't get” doesn't always mean I don't always understand the joke. Sometimes I say “don't get” as in “What's the point?”

Esquire, July 1934
Syd Hoff

These next two were submitted by Devlin Thompson and come from the January 1978 issue of Popular Cartoons
I was confused by this one at first because I thought the guy's eyes were open. This would be funnier if “up in the air” had a double meaning and there was a hat or something in the background to show this guy was a pilot.

Reamer Keller

Louis Priscilla
Sir!, February 1954

The idea seems to be he's sawing the mallets so she'll have to bend down further, but her dress is too long to look up no matter how far down she bends, or maybe he intends to look down the front of her blouse?
Good Humor, circa 1964

Hello Buddies, Winter 1950

Charles Rodrigues
Hi-Life, August 1964
Is it that he has tools attached to his artificial arm?

Stag, Fall 1941
I guess the woman's talking but the older man is the one with his mouth open.

Man, April 1966
So she's talking to two guys at once. So what?

Ed Arno
Penthouse, October 1978

Richard Taylor
Playboy, December 1964

These two are from Punch October 27, 1915

Great Cartoons of the World Series 7, part 5

Editor John Bailey says in the introduction to the book after describing some of the contributors to the book that he's met:

It develops some cartoonists are like their work, and some are not. The “why” is always the niggling thing of anything—the endless “why” that people love to diddle with in their heads. Why is Garbo mysterious and Sophia Loren not? Why was Paris fashionable in the nineteenth century, and a dull bore in the twentieth?

To get further, what is the reader like? The cartoonist has an immense curiosity to know. Dear reader, what are you like? I mean, what are you really like?

Boris Drucker for The New Yorker

Eldon Dedini

Michael Ffolkes

George Price, also in the New Yorker. He's mentioned as one of the cartoonists in the book thusly:

George Price is like his work, but not like the people he draws,, whom he has observed carefully, and whom he deeply loves, or perhaps hates. They have become a full-blooded, consistent cast of characters through whom he conveys ideas about life. One can always count on them to say something pertinent on such subjects as Women's Lib, or ecology, which is surprising, since the whole awful crowd seem to stay in the kitchen most of the time with a monkey wrench and a can of beer. Yet Price is apparently able to express anything through them. I'm not sure if he's saying something antiquatedly sexist here, but apologize anyway.

Miroslav Barták for

Great Cartoons of the World Volume IV, part 1

Got the second volume of this after the ninth one which is why I've been moving around in numerical order. So far the binding is such that I can scan something that goes across two pages but we'll see how that goes as I go further to the center of the book.

Here is the cover to this series, from 1970. The front flap explains the book as well as some specific cartoons, which we'll get to as they appear. Says editor John Bailey:

The cartoonist is not the same as the rest of us. His eye is diagnostic, like the doctor who can tell what the problem is as soon as the patient steps over the threshold.

You and I see around us the honeymoon couple, the man with too many children, the husband and wife who hate each other, the TV repairmen who exaggerate and overcharge, and the deliveries that come too late, to which we merely say, “Oh yes, that's the way it is with me.” The cartoonist penetrates more deeply, seeking the ludicrous, searching for cartoon ideas.

The cartoonist knows what we are up to. He sees through the surface and status of fancy manners, and through the illusion and fakery of the facade we build up, and observes what is really going on. For example, that the married couple, with their arms around each other, lighting each others' cigarettes, are really out to kill each other. When he shows us this truth, we laugh. Nothing is quite as funny as the truth.

J. M. Bosc Vladimir Renčin for Dikobraz Miroslav Barták for Dikobraz Frank Modell for The New Yorker Norman Thelwell in Punch Two pages by Jean-Jacques Sempé for Editions Denoël Ton Smits Chon Day for Saturday Evening Post John Glashan Jules Stauber Ed Arno for Look

GREAT CARTOONS OF THE WORLD, VOLUME III

I have several volumes of the series Great Cartoons of the World, and I've scanned the first, second, and fifth previously. This is the third volume from 1969, edited by John Bailey. The previous owner, Clackamas County Library, has written “Swartout” above the name “Bailey”. What does that mean? Is it his middle name? Doesn't really matter.

The inside cover flap describes the book thusly:

The variety is immense, the commentary penetrating, the humor guffaw-evoking, and the drawing superb in this third series of GREAT CARTOONS OF THE WORLD. This collection of over 300 cartoons selected from many of thousands by John Bailey, former cartoon editor of The Saturday Evening Post, is richer and funnier than ever, as it presents the visual humor of the world, the cartoonist's approach to events and people, the subtle and sometimes broadside barbs directed against the shibboleths of mankind.

This one was by James Stevenson for The New Yorker. Brian Davis a/k/a Michael Ffolkes for Punch. Ed Arno for Look. Vahan Shirvanian in Saturday Evening Post Boris Drucker for Look Ton Smits Charles Addams for New Yorker Jean-Jacques Sempé for Editions Denöel The next two are by Jules Stauber. J. M. Bosc for Paris Match