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Lot 119
STEIG, WILLIAM. 1907-2003. Four original drawings for The New Yorker, c. 1940s-1950s,
5 December 2019, 10:00 EST
New YorkSold for US$1,530 inc. premium
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STEIG, WILLIAM. 1907-2003.
Four original drawings for The New Yorker, c. 1940s-1950s, ink and wash with some white paint, 125 x 143 mm each, each signed in ink ("Steig" or "W. Steig") with printer's marks and New Yorker rubberstamp on versos, some soiling and glue residue on versos not affecting images.
Provenance: William Steig, the artist; by descent.
For many readers, William Steig was The New Yorker. In the six decades he worked for the magazine, he contributed 121 covers and more than 1,600 drawings. "Recently I have had the occasion to examine thousands of cartoons that have appeared in The New Yorker," art editor James Geraghty assured Steig in a letter. "One of the impressions remaining to me from this ordeal is the conviction that it would probably not be too extravagant to surmise that in all the history of graphic expressiveness your genius is unsurpassed: for sensitivity and comic perception of the human plight; for loveliness of line, for constant renewal, constant freshness" (see Roger Angell, The New Yorker, October 20, 2003). Only one of this quartet is captioned by the artist ("I'm afraid it's all up here, Mr. Botts"), and depicts a doctor pointing to his head while seated at a patient's bedside. The others show two gentlemen on a couch, discussing a contract; a shrink held up at gunpoint; and most typically of Steig, a married couple fighting over a phone call.
Provenance: William Steig, the artist; by descent.
For many readers, William Steig was The New Yorker. In the six decades he worked for the magazine, he contributed 121 covers and more than 1,600 drawings. "Recently I have had the occasion to examine thousands of cartoons that have appeared in The New Yorker," art editor James Geraghty assured Steig in a letter. "One of the impressions remaining to me from this ordeal is the conviction that it would probably not be too extravagant to surmise that in all the history of graphic expressiveness your genius is unsurpassed: for sensitivity and comic perception of the human plight; for loveliness of line, for constant renewal, constant freshness" (see Roger Angell, The New Yorker, October 20, 2003). Only one of this quartet is captioned by the artist ("I'm afraid it's all up here, Mr. Botts"), and depicts a doctor pointing to his head while seated at a patient's bedside. The others show two gentlemen on a couch, discussing a contract; a shrink held up at gunpoint; and most typically of Steig, a married couple fighting over a phone call.