Exploring Archival Cartoons
The golden age of magazine cartooning produced a wealth of artistic treasures that captured the spirit, humor, and social commentary of their times. Talented illustrators filled the pages of popular publications with single-panel cartoons that reflected everything from changing social norms to the absurdities of daily life. These works offer us a unique window into the past, revealing not just what made people laugh, but what they worried about, aspired to, and found noteworthy in their rapidly changing world.
This ongoing series exploring archival cartoons aims to rediscover and celebrate these iconic gems of cartoon art. Each featured piece tells a story not just through its humor, but through its artistic style, cultural context, and the pioneering spirit of the artists who created them. Many of these cartoonists worked during an era when the field was far less diverse than today, making their contributions all the more significant. By exploring these works across different eras and cultures, we can trace the evolution of humor, social attitudes, and artistic expression through some of the most dynamic periods in modern history.
1920’s
Published in: New Yorker (21/07/1928)
Barbara Shermund was a pioneering female cartoonist who made her mark during the golden age of American magazine illustration. At a time when the field was overwhelmingly dominated by men, Shermund carved out a distinctive niche with her witty single-panel cartoons that often appeared in popular magazines of the era. Her work was characterized by sharp social observation and a keen eye for the absurdities of everyday life.
Shermund’s cartoons frequently explored themes of modern urban life, relationships, and social conventions with a satirical edge that resonated with magazine readers of her time. Her artistic style combined clean linework with expressive character work, allowing her to convey humor and social commentary with economy and precision. As one of the relatively few women working professionally as a cartoonist during this period, Shermund helped pave the way for future generations of female cartoonists while contributing to the rich tradition of American magazine cartooning that flourished in the early to mid-20th century.
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1930’s
Published in: New Yorker (30/01/1932)
This cartoon was published during James Thurber’s early years as a regular contributor to The New Yorker, where he worked as both writer and artist. By the early 1930s, his cartoons had begun to appear with some frequency, helping to define the magazine’s tone: understated, literary, and visually unconventional.
The drawing is a typical example of Thurber’s style. His characters are rendered with minimal, almost primitive lines—an aesthetic shaped in part by his declining vision. Thurber lost most of the sight in one eye during a childhood accident, and his eyesight continued to deteriorate throughout his life. As a result, many of his cartoons were drawn in black crayon or pencil on oversized paper, then resized for publication by the magazine’s art department.
This cartoon uses a simple two-character scene with a visual absurdity—the seal on the headboard—introduced without narrative buildup. That approach was common in Thurber’s work. He frequently combined ordinary domestic scenarios with surreal elements, often leaving their presence unexplained. These cartoons appeared alongside his essays and short fiction, contributing to his reputation as one of the defining voices of The New Yorker in its formative decades.
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