Cartoons I don't get #26

New Yorker December 13, 1952
Bernard Wiseman

New Yorker December 14, 1957
Frank Modell

Playboy, December 1962
John Dempsey
I know it's about his penis. But since it's at a nudist colony I'd think everyone would recognize his penis, not just those two women. The real question, though. is why some people wear flip-flops and some don't.

Playboy, December 1965
Eldon Dedini
The punchline is that what he does is have sex, but I only know that because the cartoon is from Playboy. I'd have no idea what they were talking about otherwise.

New Yorker December 16, 1961
James Stevenson
This only makes sense in some states. There's been a gift counselor gag in almost every batch of cartoons I've posted, so it's been established that was once a mainstay at most stores, but in some states wine and liquors only at their own store is something completely unknown.

New Yorker December 4, 1954

Hello Buddies, Winter 1950

New Yorker December 5, 1953

New Yorker December 6, 1952
Robert Day

New Yorker December 6, 1958

New Yorker December 10, 1955
Claude Smith

New Yorker December 12, 1959
Saul Steinberg is one of those cartoonists you don't get because there's nothing you're supposed to get. Just cool drawings. I'll be devoting a couple posts exclusively to his cartoons after I'm done with this holiday stuff.

New Yorker December 16, 1961

Great Cartoons of the World VII, part 8

These are more excerpts from the seventh annual volume of Great Cartoons of the World from 1973.

The first cartoon by William Steig was in the New Yorker.

In the foreword, editor John Bailey describes what the contributors look like (previous examples can be seen in previous installments):

Steig is a true intellectual in the physical form of a dockworker. He is mainly surprising—he looks tough, but he is gentle and civilized. He never speaks without expressing his sense of humor, most often with some detectable ironic twist. Nothing about the artist's following of the artist being an avid follower of orgone therapy. On the other hand, there are and were several cartoonists that believed in all sorts of medical, religious, and political quackery but it usually doesn't spill into their work.

Vahan Shirvanian, also in the New Yorker.

Mischa Richter

Bruce Petty

Vladimir Renčin in Dikobraz

James Stevenson

Charles Elmer Martin

Edward Koren

Hans Moser

Whitney Darrow, Jr.

The final two were drawn by John Glashan.

Great Cartoons of the World Series 7, part 2

More, as I continue to go through Great Cartoons of the World, Series 7 from 1972, like I did last week.

This was by Miroslav Barták for Dikobraz

Donald Reilly for New Yorker, about whom editor John Bailey says in the introduction to this book:

Reilly is a very conventional young man who impresses as having good sense and good taste, and as someone who would be nice to have as a brother or nephew. He is totally in touch with the twentieth century, hates the scene, but instead of ranting and railing in his cartoons, he simply makes very telling thrusts.

It's not possible to post cartoons from magazines of the past without running into racist stereotypes, and here's one again for New Yorker courtesy of James Stevenson, who again is written about in the introduction:

Stevenson looks like the last of the adventurers. One sees him in Kongkow, where the stuff floats on the water among the pilings, or present when the cops kick in the door, turning out to be a detective. There is a toughness of spirit inside him. But the work is sensitive and delicate.

William O'Brian did this one. He too is mentioned in the intro: One would expect to find O'Brian in a proper British club, holding a brandy snifter. He is somewhat vague, given slightly to muttering, and in conversation defers to other people. But given time he is a superior raconteur. He is subtle, but his work is comedic and quite straightforward.

Jean-Jacques Sempé for Denoël

Michael Ffolkes

William O'Brian again

Boris Drucker for New Yorker

Lee Lorenz, also for New Yorker.

Because he is blond and looks like the classical poet of the nineteenth century, one expects a delicate line from Lorenz. However, what one gets is a fat line of great strength and character. There is nothing at all nineteenth century about his work, or his very controlled thoughts on the subject of human nature.

Adolf Born

Boris Drucker

Charles Saxon, for the outlet for most one-panel cartoons, The New Yorker

Eldon Dedini

Great Cartoons of the World series 6, part 8

Here are more excerpts from 1972's Great Cartoons of the World, Series 6:

These first cartoons were by Hans Moser

J. M. Bosc

Guillermo Mordillo

Jean-Jacques Sempé for Denoël

Whitney Darrow, Jr. in New Yorker

Norman Thelwell

Ton Smits

Donald Reilly for New Yorker

Robert Day, also in New Yorker

Mischa Richter

Leslie Starke in Punch

James Stevenson