Syracuse University Art Galleries

Syracuse University Art Galleries

The Cartoon Art oj Charles Be Marlin

A Catalog of the Charles Be Martin Collection Petty-Dunn Center for Social Cartooning Syracuse University Art Collections, 1982

1

Syracuse University Art Galleries

2

Acknowledgements

Promoting scholarly interest in cartoon art is one of the pn'mary goals of the Petty-Dunn Center for Social Cartooning at Syracuse University. The Cartoon Art of Charles E. Martin was organized and assembled to provide documen­tation and information about the work of another social comment ar­tist represented in the Petty-Dunn Center. The comment art of Con­statin Alajalov, Fred Ellis, and Bon's Artzybasheff will be highlighted in the next several publications of the Center.

We are deeply indebted to Cheryl Saunders, graduate research asst's­tant, for wn'ting the essay and undertaking thz's study. Also, to Domenic Iacono, for editing and organizing the production of the catalog. Special gratitude is also given to Thomas Piche, assz'stant to the curator, and Philip La Douceur, assistant to the regt'strar, for their part in creating the catalog.

We would Izke to acknowledge the generosity, past and present, of the staff of the Joe and Emily Lowe Art Gallery, particularly Joseph A. Scala, Director of the Gallery, and Ruth Ann Appelhof, Curator of Exhibitions.

The contn'butions by the staff of the George Arents Research Library, especially Sidney Huttner, Carol.yn Davt's, and Mark Weimer, are great­ly appreciated.

Alfred T. Collette Director Syracuse University Art Collections

3

Syracuse University Art Galleries

4

Cartoons by Charles E. Martin (CEM) are included in the Petty­Dunn Center for Social Cartooning at the Syracuse University Art Col­lections. They typify this collection by gently satirizing man and his society. Alan Dunn once wrote that social cartooning, as a mode of graphic comment art, "looks and laughs at the discrepancies between man's intentions and his real£za­tions, " and that "it conveys to the viewer the absurdity of going too far out in either our dreams or our fears. "1 This is certainly true of the cartoons by CEM.

Born in Boston, Massachusetts in 1910, Charles Edward Martin was self-educated as an artist. Starting in 1929, he worked as a set designer for Little Theater in Boston. He was also a sign designer and did illustra­tions, mostly furniture drawings, for mail-order catalogs. Martin began to draw cartoons at this time to protest against what he felt was a crumbling society.

After acting in summer stock in Provincetown, Massachusetts during the summer of 1932, CEM went to New York City to further his career in theater design. The difficulty of obtaining work in that field amidst the Depression caused him to start selling cartoons to small publications and illustrating stories for Fiction Parade. He also began to exhibit some of his paintings.

CEM worked on the Federal Art Project as a teacher to underprivi-

leged chzJdren in 1934, and then as a supervisor in the Teaching Division until 1938. He became a staff car­toonist for The New Yorker that year, doing spot zJlustrations at first, and started to free-lance as a designer and cartoonist. Between 1939 and 1942, he worked on the politically radical newspaper PM as assistant art editor, political car­toomst and general zJlustrator.

For the next three years, the arttst worked in England, Africa and Italy for the Office of War Information. He was art editor, poster designer and cartoomst for newspapers which were air-dropped into occupied countries. Working in a mobzJe leaflet unit stationed in France, he also zJlustrated leaflets for enemy persuasion.

After World War II, CEM felt that the audience for cartoons had shifted from one eager for severe criticzsm and protest, to one more concerned with problems on a more personal level. The type of humor in his cartoons changed accordingly, as there came to be fewer outlets for sharply satirical comment art. In subsequent years, periodicals have been running social cartoons which dzsplay a more moderate satire. Martin's work in thzs vein has been published in Collier's, The Saturday Evening Post, Look, Saturday Review, This Week, Esquire and Punch, and he has provided zJlustra­tions for Time, Life, Harper's and Fortune. He currently submits work 5

Syracuse University Art Galleries

to Topics, a cartoon syndicate in Chicago, and to The New Yorker, for which he has done the artwork for more than two hundred covers.

CEM's cover dlustrations, pro­duced in either gouache or water­color, reflect his interest in paint­ing. Since 1950, he has spent his summers on Monhegan Island, Maine, composing landscapes in watercolor and oil He taught paint­ing at the Brooklyn Museum Art School in the early sixties, and his work has been exhibited in several one-man and group shows.

Presently an dlustrator of chdd­ren '.I books, Charles Martin is also active in printmaking, particularly wood engravings and linocuts.

CEM helped to organize the Ar­tist's Gudd and the Cartoonist's Gudd, later becoming one of its presidents, and was_ elected to the Newspaper Gudd In addition, he is a member of the Society of Magazine Cartoonists.

The cartoons by CEM in the Syracuse University Art Collections represent the wide range of his artis­tic style. Most of his ink drawings are free from elaboration, with only a few detat!s to establish the scene (cat. no. 43), whzie others, such as his ink and wash drawings, show a greater observation of minutia (cat. no. 54). In general, his cartoons are distinguished by clean, finished lines, rather than rough, sketchy contours. Walt Kelly, creator of the

comic strip Pogo, wrote that CEM's "ideas and the execution of them form a style. Always interesting, always clearly presented, Martin's work is a great contribution to clear thinking. "2

The drawing style of CEM con­forms to the general trend in con­temporary cartooning. Social com­ment artists of the eighteenth and nineteenth centuries, such as Wt!liam Hogarth, had filled their images with rich, copious detat! in the academic manner common to fine art. As John Ames Mitchell, cartoonist and cofounder of Life magazine, stated, they shunned "that playfulness and fancy which are the very life of a drawing. "3

This practice was replaced in the early decades of the twentieth cen­tury by a simpler, more direct style, increasing the immediacy of the car­toon's message to the viewer. The target of the cartoonist's satire was thus reduced to its most basic elements, making £t seem as t/ the most naive of persons could grasp the absurdity of the situation, and thereby sharpening the sense of satire. The work of CEM evinces this approach.

Coinciding with the visual simplification of the cartoon was the development and proliferation of the captionless and one-line "gag" cartoons. These two changes occur­red for the same reason-to strengthen the forcefulness and directness of the message conveyed

by the image. This may be at­tributed to the increasingly rapid pace of modern society, which allows people little time for deliberation over cartoons. 4 Also, cartoons are usually small in scale when printed in magazines, and have to compete with text and other images for the viewer's notice.

A captionless drawing can sometimes be understood more readzly than a cartoon with an ex­planatory comment. An obtuse or verbose caption can hinder the pro­jection of an idea, since the viewer has to synthesize the written word and the pictorial image. 5 Indeed, Charles Martin considers cartoons with gag lines to be merely dlus­trated captions.

In accordance with this view of the caption, CEM has always looked upon pantomime as a major car­tooning device. He feels an affinity for the strip cartoon, and sees the captionless image as being a form of pure humor. His views are mani­fested in the several multi-scene and captionless cartoons reminiscent of the wordless storytelling of mime artists.

People in ironic situations are the subjects of some of these multi­image and captionless cartoons, as exemplified by the man who fi'nds shelter from a rainstorm in a door­way (cat. no. 43). Similar to pan­tomime, the story is enacted through the man '.I facial expressions

and easzly understandable gestures, such as his motioning the dog to join him. Elements of mime are also apparent in another instance of unexpected irony, in which a man on a tiny deserted island spots a ship approaching on the horizon (cat. no. 8). With no captions, we see the man anticipating his rescue, and then his feeling of disappoint­ment as he watches the ship starting to sink. The last image is of the downcast man, sharing his island with new arrivals, CEM depicts irony in a single-image, captionless draw­ing in which all the trees along the street of a commercial district are healthy, except the ones in front of the garden supply store (cat. no. 51).

Another source of humor in Mar­tin's cartoons is the satirization of character traits believed to be com­mon within a group of people. Stereotyping is portrayed through exaggeration in the scene of the journalism students wearing trench coats and slouch hats (cat. no. 9). The cartoon of the harassed nurse (cat. no. 64) also depends on stan­dard, preconceived notions for its satire.

Some cartoons by CEM involve topical issues (cat. no. 54), but most comment on the foibles and minor flaws of humanity, creating a humor that is timeless in nature. They are based on the innermost anxieties and desires caused by society's datly infringement on our lives, as can be seen in the cartoon of the executive arriving late at the 7

Syracuse University Art Galleries

office (cat. no. 31). We are all susceptible to letting our weaknesses overwhelm our sense of se/f worth , and worry about others being able to perceive our shortcomings. Such is the plight of the artist who lusts after the statue of the nude woman he has just sculpted (cat. nos. 29-30).

Mild satire characterizes the art created by CEM for such periodicals as The New Yorker, Collier's and The Saturday Evening Post. His wit is neither biting nor harshly sar­castic. Instead, it humorously alerts our attention to ironic situations and stereotypes, and pokes fun at man's vulnerabzlities. The cartoons by Charles Martin in the Syracuse University Art Collections demonstrate his consTant focus on the lesser triumphs and defeats of the human spirit.

Cheryl A. Saunders

Notes I would Itke to thank Mr. Charles E. Mar­

tin for providing information concerning his Itfe and work.

My appreciation is also extended to Mr. DomenicJ. Iacono, Curator of the Syra~use University Art Collections, for supervwng and editing the text of this catalog.

1 Alan Dunn, A Portfolio of Social Car­toons: 1957-1968 (New York: Simon and Schuster, 1968), un paginated.

2 Walt Kelly, "Cartoons, " Art in America, Winter, 1959, Vol. 47, No.4, p. 42.

3Quoted in John Geipel, The Cartoon: A

Short History of Graphic Comedy and Satire (New York: A.S. Barnes and Co., 1972), p. 32.

4Ibid, pp. 32-34.

5 Dunn, unpaginated.

"QuietI"

© 1961 The New Yorker Magazine, Inc.

NAh, detergent! We must be nearing civilizationi"

© 1965 Look

"Paris has its good points, Ma 'am-but you ain 'f lived till you've seen Dallas. ,.

© 1955 Cruwell-Collier Pub(ishing Company

© 1947 The New Yorker Magazine, Inc. 9

Syracuse University Art Galleries© 1953 The New Yorker Magazine, Inc.

"Last year I removed a thorn from his paw and he's never forgotten me."

© 1966 The New Yorker Magazine, Inc.

© 1953 Crowell-CoLLier Publishing Company © 1957 The New Yorker Magazine, inc.

"It's always his family, his family, his family, until I'm fed to the teeth with it.'''

© 1956 The New Yorker j\1agazine, Inc.

©1962 The New Yorker Magazine, Inc. 11

Syracuse University Art Galleries

"Oh, Frank! Ralph did come, after alIt'

© 1956 Look "Rill.ht where he pinched me. "

"If my calculations are correct, eve1), single phone

in the Gramercy exchange is ringing."

© 1964 Ladies Home Journal Publishing, Inc.

© 1962 The New Yorker Magazine, inc.

"Don't get carried away by all this adulation.

Remember that it's very easy for an elephant to be a success in a zoo."

© 1961 The New Yorker Magazine, Inc. 15

Syracuse University Art Galleries

One-man Shows: Rockland Foundation (now Rockland Center for the Arts), Suffern, New York, 1956 Ruth White Gallery, New York City, 1957, 1962 Brooklyn Museum Art School, Brooklyn, New York, 1963 Graham Gallery, New York City, 1973 Barbara Nicholls Gallery, New York City, 1975

CoUections

Metropolitan Museum of Art, New York City Museum of the City of New York, New York City Princeton University, Princeton, New jersey Library of Congress, Washington, D.C. Syracuse University Art Collections, Syracuse, New York Numerous private collections

Illustrations: Yuhl, jerry. Big Orange Thing. New York: Bradbury Press, 1969. Le Sieg, Theodore. Hooper Humperdink ... ? Not Him! New York: Random House, 1976. Lorimer, Lawrence T. Noah's Ark. New York: Random House, 1977. Bragg, juliana. The Story of Jonah. New York; Western Publishing Company, Inc., 1982.

Cartoon Anthologies: Lanar, L., ed., Best Cartoons of the Year. New York: Crown Publica­tions, 1946. The New Yorker Twenty-fifth Anni­versary Album: 1925-1950. New York: Harper and Row, 1951. Becker, Stephen D. Comic Art in America. New York: Simon and Schuster, 1959. Preston, Charles, ed., Taboo. New York: Tn'dent Publications, 1966. Batley, john, ed., Great Cartoons of the World. New York: Crown Publications, 1966-1974. The New Yorker Album of Art and Artists. Greenwich, Connecticut: New York Graphic Society, Ltd., 1970. The New Yorker Album of Draw­ings: 1925-1975. New York: The Viking Press, 1975.

Checklist Notes

For each work, the dimensions of the image (using publisher'S crop marks) are given in inches and centimeters, height preceeding width. All works are from the Syracuse University Art Collections, and are gifts of the artist. Publication dates are given for all cartoons published in The New Yorker (NY), and for works published in other periodicals when the dates are known. All captions cited are those which appeared in print, descriptive titles are listed parenthetically. Unless otherwise noted, all works are on paper. An asterisk (*) indicates the work is illustrated.

1. No caption (executive updating chart and picture of factory); 5 images NY, February 22, 1947, Vol. XXIII, No.1, p. 35 ink on board 1. 45/8 X 51/2 in. (11.7 x 13.9 em.) 2. 45/8x51/4 in. (11.7 x 13.2 em.) 3. 41f2 x 43/4 in. (11.3 x 12 em.) 4. 5 x 43/4 in. (12.8 x 12 em.) 5. 5 1/8 x 4 7/8 in. (12.9 x 12.3 em.) LR of last image, CEM S.U. 67.1162

*2. No caption (professor being prompted) NY, September 13, 1947, Vol. XXIII, No. 30, p. 30 ink 103/4 x 143/8 in. (27.3 x 36.4 em.) LR, CEM S. U. 67.1141

3. No caption (bird landing on top of heavy truck on bridge) NY, March 26, 1949, Vol. xxv, No.5, p.34 ink 163/4 x 12 3/8 in. (42.6 x 31.3 em.) LM, CEM S. U. 67.1113

4. No caption (highway dept. men putting up deer-crossing sign); 4 images NY, August 6, 1949, Vol. XXv, No. 24, pp. 22-23 ink 1. 5 3/8 x 83/4 in. (13.7 x 22.3 cm.) 2. 53/4 x 9 in. (14.5 x 23 cm.) 3. 5 7/8 x 8 7/8 in. (14.9 x 22.6 em.) 4. 6114 x 10 in. (15.9 x 25.4 em.) No signature S. U. 67.1105

5. No caption (salesman tied to boat mast during robbery) NY, October 29, 1949, Vol. XXV, No. 36, p. 29 ink 8 7/8 X 91/2 in. (22.5 x 24.3 em.) LL, CEM S.u. 67.1144

6. No caption (family waiting for fisher­man to catch dinner) NY, August 12, 1950, Vol. XXVI, No. 25, p. 16 ink and wash 8 3/8 x 13 in. (21.3 x 33 em.) LL, CEM S. U. 67.1119

7. No caption (laughing hyena); 2 images of 3 NY, December 9, 1950, Vol. XXVI, No. 42, p. 41 ink 1.5 7/8 x 55/8 in. (15 x 14.3 cm.) 2. 53/4 x 5% in. (14.6 x 14 em.) No signature S. U. 67.1153

*8. No caption (man on deserted island, joined by passengers of sunken ship); 4 images Collier's, September 4, 1953, Vol. 132, No.7, p. 68 ink 1. 33/4 x 7112 in. (9.6 x 18.3 em.) 2. 3 7/8 x 71/4 in. (9.9 x 18.3 cm.) 3. 4 x 7 7/8 in. (10.2 x 20 cm.) 4. 4 x 7 7/8 in. (10.1 x 20 cm.) LR of last image, CEM S. U. 67.1104

17

Syracuse University Art Galleries

*9. No caption (School of Journalism students) NY, October 31, 1953, Vol. XXIX, No. 37, p. 34 ink 9 x 10 7/8 in. (22.8 x 27.5 em.) LL, CEM S.u. 67.1110

10. No caption (woman choosing paint color); 4 images NY, January 30, 1954, Vol. XXIX, No. 50, pp. 22-23 ink 1. 33/Li x 4 3/8 in. (9.6 x 11.1 cm.) 2. 3 718 x 4 1/Li in. (9.8 x 10.8 cm.) 3. 4 1/8 x 41/Li in. (10.3 x 10.9 em.) 4. 4 x 5 in. (10.2 x 12.6 em.) LR, CEM S. U. 67.1109

*11. ''The trouble with you guys is you left your brains in the classroom. " The Saturday Evening Post, c. 1954 ink and wash 81/4 x 11 in. (20.4 x 28 em.) LL, CEM S. U. 67.1107

12. No caption (man in desert sees mirage of country club, Part I-man crawling) NY, January 22, 1955, Vol. XXX, No. 49, p. 23 ink 6 3/8 x 11 7/8 in. (16.1 x 30.1 em.) No signature S. U. 67.1155

13. No caption (man in desert sees mirage of country club, Part II-man standing) NY, January 22, 1955, Vol. XXX, No. 49, p. 23 ink 6 x 11 3/8 in. (15.4 x 28.8 em.) No signature S. U. 67.1156

14. No caption (man in desert sees mirage of country club, Part III-man can read sign) NY, January 22, 1955, Vol. XXX, No. 49, p. 23 ink 6 1/8 x 10 5/8 in. (15.6 x 27.1 em.) LL, CEM S. U. 67.1157

15. "Beat £t!" NY, Apni 30, 1955, Vol XXXI, No. 11, p. 32 ink 6 1/8 x 5 718 in. (15.5 x 14.9 em.) LR, CEM S. U. 67.1118

16. No caption (new neighbors moving in); 4 images NY, June 11, 1955, Vol. XXXI, No. 17, pp. 34-35 ink and wash 1. 3314 x 4314 in. (9.6 x 12.1 em.) 2. 4 x 4314 in. (10 x 12.2 em.) 3.4 x 4 314 in. (10.1 x 12 em.) 4. 4 x 43/4 in. (10.2 x 12.1 em.) LR, CEM S. U. 67.1135

*17. No caption (Class of 1930 member ask­ing for hand-outs dun'ng class reunion) Collier's, June 24, 1955, Vol. 135, No. 13, p. 58 ink and wash 83/4 x 9 718 in. (22.2 x 25.1 em.) LR, CEM S. U. 67.1122

*18. "Paris has its good points, Ma 'am-but you ain't lived till you've seen Dallas. " Collier's, July 22, 1955, Vol. 136, No.2, p. 40 ink and wash 1 JI/Li x 12 518 in. (28.7 x 32 em.) LR, CEM S.u. 67.1101

19. No caption (scientist makes and takes potion to bolster courage); 12 images NY, October 15, 1955, Vol. XXXI, No. 35, pp. 40-41 (except images nos. 6, 8, and 10) ink 1. 3 3/8 x 3 7/8 in. (8.5 x 9.9 em.) 2. 3 318 x 3 718 in. (8.4 x 9.8 em.) 3. 3 3/8 x j3/Li in. (8.4 x 9.7 em.) 4. 3 3/8 x 3314 in. (8.5 x 9.8 em.) 5. 3 318 x 3% in. (8.6 x 9.7 em.) 6. 3 3/8 x 3314 in. (8.6 x 9.6 em.) 7. 3 3/8 X 3314 in. (8.4 x 9.7 em.) 8. 3 7/8 x 3314 in. (9.8 x 9.6 em.) 9.3318 x 3314 in. (8.5 x 9.5 em.) 10. 3112 x 3 3/Li in. (8.9 x 9.7 em.) 11.3112 x 3 718 in. (8.8 x 9.9 em.) 12. 3 118 x 4 718 in. (7.9 x 12.5 em.) LR of last image, CEM S. U. 67.1154

20. No caption (boy scout and stubborn old man); 5 images NY, November 19, 1955, Vol. XXXI, No. 40, p. 49 ink 1. 25/8x11/8in. (6.7x2.gem.) 2.25/8 x 1314 in. (6.7 x 4.4 em.) 3. 3 x jil4 in. (7.8 x 8 em.) 4. 2112 x 1 3/8 in. (6.2 x 3.5 em.) 5.2518 x 3 in. (6.7 x 7.8 em.) LR, CEM S.u. 67.1116

21. No caption (Indian in desert sees saloon mirage); 3 images NY, January 14, 1956, Vol. XXXI, No. 48, pp. 30-31 ink 1. J3/Li x 7 in. (14.6 x 17.8 em.) 2. 5 314 x 7 718 in. (14.5 x 20 em.) 3. 5 7/8 x 9% in. (15 x 24 em.) LR of last image, CEM S.u. 67.1160

*22. "Oh, Frank! Ralph did come, after all!" Look, March 20, 1956, Vol. 20, No.6, p. 107 ink and wash 11 x 93/8 in. (28 x 23.6 em.) LR, CEM S. U. 67.1103

*23. , 'It's always his family, his family, his family, un"til I'm fed to the teeth with it!" NY, August 25, 1956, Vol. XXXII, No. 27, p. 35 ink 91/8 x 123/4 in. (23.1 x 32.3 em.) LR, CEM S. U. 67.1137

24. No caption (card playing dun'ng violin lesson); 12 images NY, December 1, 1956, Vol. XXXII, No. 41, pp. 54-55 ink and wash 1. 3 1/8 X 23/4 in. (8 x 7 em.) 2. 3 1/8 x 2314 in. (7.9 x 6.8 em.) 3. 3114 x 2 5/8 in. (8.3 x 6.7 em.) 4. 3 x 3 1/8 in. (7.4 x 8 em.) 5. 2 718 x 3 1/Li in. (7.2 x 8.3 em.) 6. 3 118 x 3 in. (7.8 x 7.4 em.) 7. 3 x 3 1/8 in. (7.5 x 7.7 em.) 8. 2 7/8 x 3% in. (7.3 x 8.2 em.) 9.3 x 3 118 in. (7.5 x 8 em.) 10. 3 3/8 x 3 in. (8.4 x 7.4 em.) 11. 3 x 3 in. (7.5 x 7.5 em.) 12. 3114 x 3 in. (8.6 x 7.5 em.) LR of last image, CEM S. U. 67.1099

25. No caption (sign maker and' 'EXIT" sign); 4 images NY, January 5, 1957, Vol. XXXII, No. 46, pp. 24-25 ink and wash 1. 61/8 X 8112 in. (15.6 x 21.4 em.) 2. 6 1/8 x 8 112 in. (15.6 x 21.5 em.) 3. 6 1/8 x 8 3/8 in. (15.7 x 21.2 em.) 4. 6 1/8 x 83/8 in. (15.7 x 21.4 em.) LR of last image, CEM S. U. 67.1100

26. No caption (boy scout helping old man across street); 4 images NY, March 9, 1957, Vol. XXXIII, No.3, pp. 34-35 ink 1.4314 x 5 7/8 in. (12.1 x 14.8 em.) 2. 4112 x 5 718 in. (11.5 x 14.8 em.) 3. 45/8 X 5112 in. (11.7 x 13.8 em.) 4. 4112 x 5 318 in. (11.3 x 13.5 em.) LR of last image, CEM S. U. 67.1138

*27. No caption (tn'bal head shn'nker); 5 images Punch, April 17, 1957, Vol. CCXXXII, No. 6086, p. 493 ink and wash 1. 3 3/8 x 23/8 in. (8.5 x 6 em.) 2. 3 3/8 X jil2 in. (8.5 x 8.8 em.) 3. 3 1/8 x 3314 in. (8 x 9.5 em.) 4. 3% x 3% in. (8.2 x 8.8 em.) 5. jil2 x 3 in. (8.9 x 7.7 em.) LR of last image, CEM S.u. 67.1126

28. No caption (woman in golf cart beckoned to by devtl) NY, June 1, 1957, Vol. XXXIII, No. 15, p. 25 ink and wash 12112 x 16114 in. (31.6 x 41.3 em.) LR, CEM S. U. 67.1158

19

Syracuse University Art Galleries

*50. No caption (booksellers declare war) NY, February 17, 1962, Vol. XXXVII, No. 53, p. 28 ink 131/~ x 15 718 in. (33.5 x 40.1 em.) LI, CEM S. U. 67.1148

*51. No caption (dead trees in front of garden supply store) NY, May 26, 1962, Vol. XXXVIII, No. 14, p. 35 ink and wash 10 5/8 x 17 in. (27 x 43.2 em.) LR, CEM S. U. 67.1146

52. "No one is seated during the orgy. " NY; February 2, 1963, Vol. XXXVIII, No. 50, p. 30 ink and wash 9 x 9 in. (22.7 x 22.7 em.) LR, CEM S.u. 67.1142

*53. "If my calculations are correct, every single phone in the Gramercy exchange is ringing. " Ladies Home Journal, December 1964, Vol. 81, No. 11, p. 162 ink and wash 8 718 x 8 in. (22.4 x 20.2 em.) LR, C.E.M. S.u. 67.1102

*54. "Ah, detergent! We must be nearing civilization!' , Look, November 16, 1965, Vol. 29, No. 23, p. 91 ink and wash 10 718 x 14 in. (17.7 x 35.5 em.) LR, C.E.M. S.u. 67.1106

55. No caption (radar disk) NY; March 5, 1966, Vol. XLII, No.2, cover tflustration wash on board 11 518 x 83/4 in. (29.5 x 22.3 em.) LR, in pencil, CEM S. U. 67.1128

*56. • 'Last year I removed a thorn from his paw and he's never forgotten me. " NY; Apnl16, 1966, Vol. XLII, No.8, p.45 ink and wash 1 JII2 x 13 7/8 in. (29 x 35 em.) LR, C.E.M. S. U. 67.1149

57. "That barely comes to six dollars, sir, and fifteen percent of six dollars is a lousy ninety cents. " Punch, June 22, 1966, Vol. 250, No. 6563, p. 926 ink 6314 x 5 118 in. (17 x 12.8 em.) LR, C.E.M. S. U. 67.1125

58. "Ladybird won't like that. " NY, August 20, 1966, Vol. XLII, No. 26, p. 35 ink 15 118 x 19 318 in. (38.3 x 49.2 em.) LR, C.E.M. S. U. 67.1112

59. No caption (street-corner violinist) Publication record unknown ink 9 x 10 518 in. (22.9 x 26.9 em.) LR, CEM S. U. 67.1120

60. No caption (violin teacher having drink before lesson) Publication record unknown ink 10112 x 14 in. (26.8 x 35.6 em.) LR, CEM S. U. 67.1147

61. "I hate flying. I always travel by ship. " The Saturday Evening Post ink and wash 81/2 x 9 318 in. (21.5 x 23.7 em.) LR, C.E.M. S. U. 67.11 08

62. "Hey, Abdullah-guess who's the sixth atomic power. " The Saturday Evening Post ink 8 112 x 12118 in. (21.6 x 30.7 em.) LR, C.E.M. S.u. 67.1121

63. No caption (Santa taking Record of Gifts to the I.R.S.) The Saturday Evening Post ink and wash 6 112 x 91/2 in. (16.3 x 24.1 em.) LM, glued onto sheet, C.E.M. S.U. 67.1123

*64. "Right where he pinched me." The Saturday Evening Post ink and wash 9 1/8 x 8 in. (23.1 x 20.3 em.) LR, C.E.M. S.U.67.1127

65. "I never discriminate. Regardless of race, creed, or eolor ... zing! In goes the old stinger. " The Saturday Evening Post ink and wash 10112 x 10 518 in. (26.6 x 27 em.) LR, C.E.M. S. if. 67.1130

66. No caption (hippie wn'ter and muse) The New York Times Book Review ink and wash 7 518 x 8 5/8 in. (19.3 x 21.9 em.) UR, CEM S. U. 67.1}29

23

1

Syracuse University Art Galleries

Credits

Copyright, 1982, by the Syracuse University Art Collections Syracuse, New York 13210

Alfred T. Collette, Director

500 copies of this catalog were printed by Syracuse University Printing Services.

Catalog design: Joaquim da Fonseca

Cover illustration: No caption (sculptor's nude comes to fife) Cat. No. 38-1.

Photograph of CEM by John Walkup

All Charles E. Martin cartoons which appeared in The New Yorker magazine are copyrighted and reproduced with the permission of The New Yorker Magazine, Inc.

Those cartoons which appeared in The Saturday Evening Post, Collier's, The Ladies Home Journal, Punch, and Look are reproduced with the copyright date and byline of each magazine.

Syracuse University Art Galleries