DATE OF THIS ** ORIGINAL ** ITEM: 1955 A contract proof usually serves as an agreement between customer and printer and as a color reference guide for adjusting the press before the final press run. Most contract proofs are a prepress proof. The primary goal of 'proofing' is to serve as a tool for customer verification that the entire job is accurate. Prepress proofing (also known as off-press proofing) is a cost-effective way of providing a visual copy without the expense of creating a press proof. If errors are found during the printing process on press, correcting them can prove very costly to one or both parties involved. Press time is the most expensive part of print media. The main objective of proofing is to produce either a soft or hard copy of what the final product will look like on press. Hard-copy proofing usually involves ink-jet printing or other technologies (i.e. Laminate Proo) to produce high-quality one-off copies of the production artwork. Soft proofing usually involves highly color accurate wide-gamut computer displays. "The printed proof is a dispassionate simulation of the ultimate output – a CMYK press sheet. The mission of a proofing system is to create accurate predictions, not pretty pictures." In the best conditions the proofing process will actually try to emulate the effects of the printing press through color management and screening techniques, which can be quite challenging because proofing devices may behave and operate quite differently from press devices. A Printer’s Proof (PP) is similar to an artist’s proof. They were originally designed to monitor the progress of printing. They are a print or object that the manufacturer or printer receives as proof of their work. These copies are made in addition to the actual edition and are not intended for sale or included in the count of the edition. They remain in the archive of the printing house and can be submitted to other potential clients and artists as a work sample. However, it is customary for the manufacturer to release their PPs for sale in the event of a complete sale of the print run or on special request. Instead of stating the number of the sheet within the edition, the printer’s proofs contain the note PP and possibly a numbering with Roman or Arabic numerals. The number of PPs in addition to the regular edition is up to the artist. Usually there are one or two PPs. In any case, the number is determined from the outset and cannot be supplemented afterwards. Print graphics also include the designation AP or HC. The abbreviation AP stands for Artist’s Proof (see What is an Artist’s Proof?). HC means “hors de commerce” (“outside the trade”) and these were printed on sheets which were not to be sold, but were instead intended as gifts for institutions or museums. Charles Samuel Addams (January 7, 1912 – September 29, 1988) was an American cartoonist known for his darkly humorous and macabre characters.[1] Some of his recurring characters became known as the Addams Family, and were subsequently popularized through various adaptations. Addams was born in Westfield, New Jersey. He was the son of Grace M. (née Spear; 1879–1943) and Charles Huey Addams (1873–1932), a piano company executive who had studied to be an architect.[2] Known as "something of a rascal around the neighborhood," as childhood friends recalled,[3] Addams was distantly related to U.S. presidents John Adams and John Quincy Adams, despite the different spellings of their last names, and was a first cousin twice removed to noted social reformer Jane Addams.[3][4] Addams would enjoy the Presbyterian Cemetery on Mountain Avenue in Westfield as a child, where – according to author and Addams expert Ron MacCloskey – he would wonder what it was like to be dead.[5] In the cartoons, his ghoulish creations lived on Cemetery Ridge with a dreadful view. A house on Elm Street and another on Dudley Avenue – into which police once caught him breaking and entering – are said to be the inspiration for the Addams Family mansion in his cartoons. College Hall, the oldest building on the current campus of the University of Pennsylvania, where Addams studied, was also an inspiration for the mansion.[6] One friend said of him: "His sense of humor was a little different from everybody else's." He was also artistically inclined, "drawing with a happy vengeance", according to a biographer.[3] His father encouraged him to draw, and Addams did cartoons for the Westfield High School yearbook, Weathervane.[2][5] He attended Colgate University in 1929 and 1930. At the corners of West Kendrick and Maple Avenues in Hamilton, is another home, and myth, that may have inspired the Addams Family house.[7] He also attended the University of Pennsylvania in 1930 and 1931. He then studied at the Grand Central School of Art in New York City in 1931 and 1932.[2][5] Charles Addams joined the layout department of True Detective magazine in 1933, where he retouched photos of corpses to remove the blood for appearance alongside magazine stories. Addams complained: "A lot of those corpses were more interesting the way they were."[8] His first drawing for The New Yorker, a sketch of a window washer, ran February 6, 1932, and his cartoons ran regularly in the magazine from 1937, when he drew the first in the series that came to be called The Addams Family, until his death. Addams remained a freelancer throughout that time.[3] During World War II, Addams served at the Signal Corps Photographic Center in New York, where he made animated training films for the U.S. Army.[9] Addams created a 1952 mural for the library at Penn State depicting prominent Addams Family members.[10] Television producer David Levy approached Addams with an offer to create The Addams Family television series, with a little help from the humorist.[11] Addams gave his characters names as well as qualities for actors to use in portrayals; the series ran on ABC from 1964 to 1966.[5] Addams regularly had cartoons in The New Yorker, and he also created the syndicated single-panel comic Out of This World between 1955 and 1957. Collections of his work include Drawn and Quartered (1942) and Monster Rally (1950), the latter with a foreword by John O'Hara.[12] One cartoon shows two men standing in a patent attorney's office; one points a bizarre gun out the window toward the street, saying: "Death ray, fiddlesticks! Why, it doesn't even slow them up!".[13] Dear Dead Days (1959) is a scrapbook-like compendium of vintage images (and occasional pieces of text) that appealed to the author's sense of the grotesque, including Victorian woodcuts, vintage medicine-show advertisements, and a boyhood photograph of Francesco Lentini, who had three legs.[14] Addams drew more than 1,300 cartoons over the course of his life. Beyond The New Yorker pages, his cartoons appeared in Collier's and TV Guide,[5] as well as books, calendars, and other merchandise. The 1957 album Ghost Ballads, featuring folk songs with supernatural themes by singer-guitarist Dean Gitter, was packaged with cover art by Addams depicting a haunted house.[15] The Mystery Writers of America honored Addams with a Special Edgar Award in 1961 for his body of work. The films The Old Dark House (1963) and Murder by Death (1976) feature title sequences illustrated by Addams.[16] In 1946, Addams met science-fiction writer Ray Bradbury after having drawn an illustration for Mademoiselle magazine's publication of Bradbury's short story "Homecoming", the first in a series of tales chronicling a family of Illinois vampires named the Elliotts. The pair became friends and planned to collaborate on a book of the Elliott Family's complete history with Bradbury writing and Addams providing the illustrations, but it never materialized. Bradbury's stories about the "Elliott Family" were finally anthologized in From the Dust Returned in October 2001, with a connecting narrative and an explanation of his work with Addams, and Addams's 1946 Mademoiselle illustration used for the book's cover jacket. Although Addams's own characters were well-established by the time of their initial encounter, in a 2001 interview, Bradbury stated: "[Addams] went his way and created the Addams Family, and I went my own way and created my family in this book."[17] Janet Maslin, in a review of an Addams biography for The New York Times, wrote: "Addams's persona sounds cooked up for the benefit of feature writers ... was at least partly a character contrived for the public eye," noting that one outré publicity photo showed the humorist wearing a suit of armor at home, "but the shelves behind him hold books about painting and antiques, as well as a novel by John Updike."[3] Filmmaker Alfred Hitchcock was a friend of Addams, and owned two pieces of original Addams art.[18] Hitchcock references Addams in his 1959 film North by Northwest. During the auction scene, Cary Grant discovers two of his adversaries with someone who he also thinks is against him and says: "The three of you together. Now that's a picture only Charles Addams could draw."[19] Addams met first wife Barbara Jean Day in late 1943, who purportedly resembled his cartoon character Morticia Addams.[3] The marriage ended eight years later after Addams declined to have children (she later married New Yorker colleague John Hersey, author of the book Hiroshima).[20] Addams married second wife Barbara Barb (Estelle B. Barb) in 1954. A practicing lawyer, she "combined Morticia-like looks with diabolical legal scheming," by which she wound up controlling the Addams Family television and film franchises and persuaded her husband to give away other legal rights.[3] At one point, she got her husband to take out a US$100,000 insurance policy. Addams consulted a lawyer on the sly, who later humorously wrote: "I told him the last time I had word of such a move was in a picture called Double Indemnity starring Barbara Stanwyck, which I called to his attention." In the movie, Stanwyck's character plotted her husband's murder.[3] The couple divorced in 1956.[21] Addams was "sociable and debonair". A biographer described him as being "a well-dressed, courtly man with silvery back-combed hair and a gentle manner, he bore no resemblance to a fiend". Figuratively a "ladykiller", Addams accompanied women such as Greta Garbo, Joan Fontaine, and Jacqueline Kennedy on social occasions.[3] For about a year after the death of Nelson Rockefeller, Addams dated Megan Marshack, the aide who was with the former US vice president when he died. Addams married his third and final wife Marilyn Matthews Miller, best known as "Tee" (1926–2002), in a pet cemetery.[2] The Addamses moved to Sagaponack, New York in 1985, where they named their estate "The Swamp".[22] Addams died on September 29, 1988, at the age of 76, at St. Clare's Hospital and Health Center in New York City, having suffered a heart attack after parking his automobile. An ambulance took him from his apartment to the hospital, where he died in the emergency room.[2] As he had requested, a wake was held rather than a funeral; he had wished to be remembered as a "good cartoonist". In accordance with Addams's wishes, he was cremated, and his ashes were interred in the pet cemetery of "The Swamp" estate.[23] The Tee & Charles Addams foundation was established in 1999 "to interpret and share the artistic achievement of Charles Addams’s life through exhibitions and programs developed from all works by Charles Addams including the Foundation’s own collections and from its copyrights of the Addams oeuvre." Prior to the COVID-19 pandemic the foundation offered tours of the couples' property and displayed artefacts from Addams' life.[24] The Charles Addams Fine Arts Hall in Philadelphia was named in his tribute by the University of Pennsylvania in 2001.[25] On the occasion of his 100th birthday, January 7, 2012, Charles Addams was honored with a Google Doodle.[26] Addams was inducted into the New Jersey Hall of Fame in 2020.[27] On April 30, 2021, the original art for his macabre holiday illustration "Addams and Evil", a 1947 interior book cartoon from The Addams Family Christmas, sold for $87,500, the author's world auction record, over seven times initial estimates.[28] Curtis Arnoux Peters, Jr. (January 8, 1904 – February 22, 1968), known professionally as Peter Arno, was an American cartoonist. He contributed cartoons and 101 covers to The New Yorker from 1925, the magazine's first year, until 1968, the year of his death. In 2015, New Yorker contributor Roger Angell described him as "the magazine's first genius" Arno was born on January 8, 1904, in New York City. His father was Curtis Arnoux Peters, a New York State Supreme Court judge. He was educated at the Hotchkiss School and Yale University, where he contributed illustrations, covers and cartoons to The Yale Record, the campus humor magazine, as "Peters". He also formed a jazz band called the Yale Collegians, in which he played piano, banjo, and accordion.[5] Arno's infatuation with show business later had him designing, writing, and/or producing for four Broadway shows, and appearing with fellow cartoonists in the film Artists and Models. (Please see Role in Broadway Productions below) After one year at Yale he moved home to Manhattan and worked as an illustrator for a silent film company (Chadwick Films) before joining the staff of the fledgling magazine The New Yorker. The iconic cartoons and covers he created there, from 1925 through 1968, helped establish the magazine's reputation for sophisticated humor and fine illustration. His work often depicted a cross-section of New York City society, though he was also inspired by situations he encountered during his travels. Arno drew his cartoons in batches, usually over a two-day period each wee] Arno often worked with gag writers, one of whom coined the popular expression "back to the drawing board" in a famous March 1, 1941 cartoon. In 1927 he married Lois Long, a popular New Yorker columnist and fashion editor who wrote under the pseudonym "Lipstick." Their one daughter, Patricia, was born September 18, 1928, and the couple divorced in 1930. Arno later married debutante Mary Livingston Lansing in August 1935; they divorced in July 1939. After his second divorce, Arno moved to a farm near Harrison, New York, where he lived in seclusion, enjoying music, guns, and sports cars. Arno died of emphysema on February 22, 1968, at the age of 64. He is buried at Kensico Cemetery in Valhalla, New York A biography, Peter Arno: The Mad Mad World of The New Yorker's Greatest Cartoonist by New Yorker cartoonist, Michael Maslin was published in April 2016 by Regan Arts. The New Yorker (stylized in all caps) is an American magazine featuring journalism, commentary, criticism, essays, fiction, satire, cartoons, and poetry. Founded as a weekly in 1925, the magazine is published 47 times annually, with five of these issues covering two-week spans. Although its reviews and events listings often focus on the cultural life of New York City, The New Yorker also produces long-form journalism and shorter articles and commentary on a variety of topics, has a wide audience outside New York, and is read internationally. The New Yorker was founded by Harold Ross (1892–1951) and his wife Jane Grant (1892–1972), a New York Times reporter, and debuted on February 21, 1925. Ross wanted to create a sophisticated humor magazine that would be different from perceivably "corny" humor publications such as Judge, where he had worked, or the old Life. Ross partnered with entrepreneur Raoul H. Fleischmann(who founded the General Baking Company) to establish the F-R Publishing Company. The magazine's first offices were at 25 West 45th Street in Manhattan. Ross edited the magazine until his death in 1951. During the early, occasionally precarious years of its existence, the magazine prided itself on its cosmopolitan sophistication. Ross declared in a 1925 prospectus for the magazine: "It has announced that it is not edited for the old lady in Dubuque." The New Yorker has featured cartoons (usually gag cartoons) since it began publication in 1925. For years, its cartoon editor was Lee Lorenz, who first began cartooning in 1956 and became a New Yorker contract contributor in 1958. After serving as the magazine's art editor from 1973 to 1993 (when he was replaced by FrançoiseMouly), he continued in the position of cartoon editor until 1998. His book The Art of the New Yorker: 1925–1995 (Knopf, 1995) was the first comprehensive survey of all aspects of the magazine's graphics. In 1998, Robert Mankoff took over as cartoon editor and edited at least 14 collections of New Yorker cartoons. Mankoffalso usually contributed a short article to each book, describing some aspect of the cartooning process or the methods used to select cartoons for the magazine. He left the magazine in 2017. The New Yorker's stable of cartoonists has included many important talents in American humor, including Charles Addams, Peter Arno, Charles Barsotti, George Booth, Roz Chast, Tom Cheney, Sam Cobean, Leo Cullum, Richard Decker, Pia Guerra, J. B. Handelsman, Helen E. Hokinson, Pete Holmes, Ed Koren, Reginald Marsh, Mary Petty, George Price, Charles Saxon, Burr Shafer, Otto Soglow, William Steig, Saul Steinberg, James Stevenson, James Thurber, and GahanWilson. Many early New Yorker cartoonists did not caption their cartoons. In his book The Years with Ross, Thurber describes the newspaper's weekly art meeting, where cartoons submitted over the previous week were brought up from the mail room to be looked over by Ross, the editorial department, and a number of staff writers. Cartoons were often rejected or sent back to artists with requested amendments, while others were accepted and captions were written for them. Some artists hired their own writers; Helen Hokinsonhired James Reid Parker in 1931. Brendan Gill relates in his book Here at The New Yorker that at one point in the early 1940s, the quality of the artwork submitted to the magazine seemed to improve. It later was found out that the office boy (a teenaged Truman Capote) had been acting as a volunteer art editor, dropping pieces he did not like down the far end of his desk. Several of the magazine's cartoons have reached a higher plateau of fame. One 1928 cartoon drawn by Carl Rose and captioned by E. B. White shows a mother telling her daughter, "It's broccoli, dear." The daughter responds, "I say it's spinach and I say the hell with it." The phrase "I say it's spinach" entered the vernacular, and three years later, the Broadway musical Face the Music included Irving Berlin's song "I Say It's Spinach (And the Hell with It)". The catchphrase "back to the drawing board" originated with the 1941 Peter Arno cartoon showing an engineer walking away from a crashed plane, saying, "Well, back to the old drawing board." The most reprinted is Peter Steiner's 1993 drawing of two dogs at a computer, with one saying, "On the Internet, nobody knows you're a dog". According to Mankoff, Steiner and the magazine have split more than $100,000 in fees paid for the licensing and reprinting of this single cartoon, with more than half going to Steiner. Over seven decades, many hardcover compilations of New Yorker cartoons have been published, and in 2004, Mankoffedited The Complete Cartoons of The New Yorker, a 656-page collection with 2,004 of the magazine's best cartoons published during 80 years, plus a double CD set with all 68,647 cartoons ever published in the magazine. This features a search function allowing readers to search for cartoons by cartoonist's name or year of publication. The newer group of cartoonists in recent years includes Pat Byrnes, J. C. Duffy, Liana Finck, Emily Flake, Robert Leighton, Michael Maslin, Julia Suits, and P. C. Vey. Will McPhailcited his beginnings as "just ripping off Calvin and Hobbes, Bill Watterson, and doing little dot eyes." The notion that some New Yorker cartoons have punchlines so oblique as to be impenetrable became a subplot in the Seinfeld episode "The Cartoon", as well as a playful jab in The Simpsons episode "The Sweetest Apu". In April 2005, the magazine began using the last page of each issue for "The New Yorker Cartoon Caption Contest". Captionlesscartoons by The New Yorker's regular cartoonists are printed each week. Captions are submitted by readers, and three are chosen as finalists. Readers then vote on the winner. Anyone age 13 or older can enter or vote. Each contest winner receives a print of the cartoon (with the winning caption) signed by the artist who drew the cartoon. In 2017, after Bob Mankoff left the magazine, Emma Allen became the youngest and first female cartoon editor in the magazine's history.
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