Images & Stuff
19th Century: Newspapers
Harper’s Weekly, A Journal of Civilization began publication in 1857 as a venture of the New York publishing firm of Harper and Brothers. The Weekly was among a group of new magazines that benefited from lower postal rates and provisions that publishers instead of subscribers paid the postage. It was soon popular thanks to its use of illustrations, the relatively high quality of its printing, and its editorial content. By the end of 1861, the magazine had a circulation of 120,000 and stood, in terms of readership, among the leading magazines of the Civil War period.
In 1863 George William Curtis became editor of Harper’s Weekly and under him the magazine’s influence grew. Curtis and Nast worked well together for a time. During the 1870s Nast’s cartoons attacking William Tweed and his political cronies in New York City gained national attention, and boosted the magazine’s circulation. It especially received favorable notice from Republicans. Both Curtis and Nast, although they had their disagreements, were important Republicans, although the magazine was ostensibly non-partisan. The magazine’s influence was greatest during the 1870s. Nast left the magazine in 1887 as the result of on-going conflicts with its editor and publisher. Harper’s Weekly ceased publishing in 1916.
Below are images from the pages of Harper's. Click on images to enlarge.
In 1863 George William Curtis became editor of Harper’s Weekly and under him the magazine’s influence grew. Curtis and Nast worked well together for a time. During the 1870s Nast’s cartoons attacking William Tweed and his political cronies in New York City gained national attention, and boosted the magazine’s circulation. It especially received favorable notice from Republicans. Both Curtis and Nast, although they had their disagreements, were important Republicans, although the magazine was ostensibly non-partisan. The magazine’s influence was greatest during the 1870s. Nast left the magazine in 1887 as the result of on-going conflicts with its editor and publisher. Harper’s Weekly ceased publishing in 1916.
Below are images from the pages of Harper's. Click on images to enlarge.
Frank Leslie's Illustrated Newspaper, later renamed Leslie's Weekly, was an American illustrated literary and news magazine founded in 1852 and published until 1922. It was one of several magazines started by publisher and illustrator Frank Leslie. Throughout its decades of existence, the weekly provided illustrations and reports—first with wood engravings and Daguerreotypes, later with more advanced forms of photography—of wars from John Brown's raid at Harpers Ferry and the Civil War until the Spanish-American War and the First World War.
After Leslie's death in 1880, the magazine was continued by his widow, the women's suffrage campaigner Miriam Florence Leslie. The name, by then a well-established trademark, remained also after 1902, when it no longer had a connection with the Leslie family. It continued until 1922 as Leslie's Weekly, adopting the use of full color on its covers. It's patriotic themes, however, continued.
Below are images from the pages of Leslie's publications. Click on images to enlarge.
After Leslie's death in 1880, the magazine was continued by his widow, the women's suffrage campaigner Miriam Florence Leslie. The name, by then a well-established trademark, remained also after 1902, when it no longer had a connection with the Leslie family. It continued until 1922 as Leslie's Weekly, adopting the use of full color on its covers. It's patriotic themes, however, continued.
Below are images from the pages of Leslie's publications. Click on images to enlarge.
This issue of the New York Tribune contains the article, "Kate Carew Fell into Line and Marched--Oh, Miles--Seeking a Vote." The author and illustrator comedically discusses her experience being a part of the woman's suffrage parade held in New York City on May 4, 1912. The article features illustrations drawn by the author, who was a professional cartoonist by trade.
Mary Williams, who wrote under the pseudonym Kate Carew, was a caricaturist who worked at several newspapers, including the San Francisco Examiner, the New York World, The Patrician, The Tatler, and the New York Tribune. When she worked at the San Francisco Examiner circa 1890-95, she was the only woman artist working on the paper at that time. In the late 1890s, she escaped an unhappy marriage with a new partner — a writer named Chambers — and traveled to New York City where she landed a job as a writer-cartoonist with Joseph Pulitzer’s newspaper, the New York World.
Think about it. A woman left her marriage, traveled to the biggest, most vital city in the world at the time, got a job as a cartoonist and reporter on one of the top newspapers in America, (run and staffed by men). She did all this around the turn of the century through the early teens, before American women even got the vote 1920.
Under her pseudonym, Williams wrote candid, witty interviews with luminaries of the day, including Mark Twain, Pablo Picasso, and the Wright Brothers. She adorned her interviews with her unique “Carewatures,” and often drew herself into the scene (much like the Tribune piece featured here).
Mary Williams, who wrote under the pseudonym Kate Carew, was a caricaturist who worked at several newspapers, including the San Francisco Examiner, the New York World, The Patrician, The Tatler, and the New York Tribune. When she worked at the San Francisco Examiner circa 1890-95, she was the only woman artist working on the paper at that time. In the late 1890s, she escaped an unhappy marriage with a new partner — a writer named Chambers — and traveled to New York City where she landed a job as a writer-cartoonist with Joseph Pulitzer’s newspaper, the New York World.
Think about it. A woman left her marriage, traveled to the biggest, most vital city in the world at the time, got a job as a cartoonist and reporter on one of the top newspapers in America, (run and staffed by men). She did all this around the turn of the century through the early teens, before American women even got the vote 1920.
Under her pseudonym, Williams wrote candid, witty interviews with luminaries of the day, including Mark Twain, Pablo Picasso, and the Wright Brothers. She adorned her interviews with her unique “Carewatures,” and often drew herself into the scene (much like the Tribune piece featured here).
19th Century: Humor/Satire Magazines
PUCK was the first successful humor magazine in the United States with colorful cartoons, caricatures and political satire of the issues of the day. The weekly magazine was founded by Joseph Ferdinand Keppler in St. Louis. A typical 32-page issue contained a full-color political cartoon on the front cover and a color non-political cartoon or comic strip on the back cover. There was always a double-page color centerfold, usually on a political topic. There were numerous black-and-white cartoons used to illustrate humorous anecdotes. A page of editorials commented on the issues of the day.
The magazine continued in operation for more than 40 years under several owners and editors, until it was bought by the William Randolph Hearst company in 1916, having been involved with the magazine for years (one cartoon featured Hearst's comic characters of the time campaigning for his bid for Congress in 1906). The publication lasted two more years; the final edition was distributed September 5, 1918.
The magazine continued in operation for more than 40 years under several owners and editors, until it was bought by the William Randolph Hearst company in 1916, having been involved with the magazine for years (one cartoon featured Hearst's comic characters of the time campaigning for his bid for Congress in 1906). The publication lasted two more years; the final edition was distributed September 5, 1918.
Below are images from the pages of Puck. Click on images to enlarge.
JUDGE MAGAZINE
James Wales worked as a cartoonist for Puck Magazine and its publisher, Joseph Keppler. In 1881 he left the magazine after a quarrel with Keppler and established the rival publication, The Judge. James Wales had difficulty making the magazine a financial success and in 1885 sold it to William J. Arkell. Like Puck, Judge featured full-color political cartoons which addressed contemporary issues such as political corruption and immigration. Judge boomed during the '80s and '90s, surpassing its rival publication in content and circulation. By the early 1890s, the circulation of the magazine reached 50,000.
However, by the early 1930s the Great Depression had started to have a serious impact on sales. The price was reduced to ten cents, but when that did not solve the problem Judge became a monthly 1932. The success of The New Yorker, as well as the depression, put extreme pressure on the magazine and it continued to decline until it finally ceased circulation in 1947.
Below are images from the pages of Judge. Click on images to enlarge.
James Wales worked as a cartoonist for Puck Magazine and its publisher, Joseph Keppler. In 1881 he left the magazine after a quarrel with Keppler and established the rival publication, The Judge. James Wales had difficulty making the magazine a financial success and in 1885 sold it to William J. Arkell. Like Puck, Judge featured full-color political cartoons which addressed contemporary issues such as political corruption and immigration. Judge boomed during the '80s and '90s, surpassing its rival publication in content and circulation. By the early 1890s, the circulation of the magazine reached 50,000.
However, by the early 1930s the Great Depression had started to have a serious impact on sales. The price was reduced to ten cents, but when that did not solve the problem Judge became a monthly 1932. The success of The New Yorker, as well as the depression, put extreme pressure on the magazine and it continued to decline until it finally ceased circulation in 1947.
Below are images from the pages of Judge. Click on images to enlarge.
THE SAN FRANCISCO ILLUSTRATED WASP was a weekly magazine that concentrated on social and political satire. It was established in 1876 by Francis Korbel, a Bohemian émigré, and his two brothers. The Wasp was originally printed in black and white with standard woodcut illustrations, but soon switched to color lithography quickly becoming a leading magazine in the area. The Wasp also helped usher in the age of mass production of large-scale color cartoons in the United States.
"Many of the Wasp's cartoons were so topical of the time that they are indecipherable today, referring to long-forgotten scandals and corrupt politicians. Others retain sting— and embarrassment— more than a century on, for they reveal that 19th century San Francisco wasn't the tolerant town we think of today. "All racial and ethnic groups except the normative Anglo-Saxons were fair game for the most degrading caricatures by Keller and others. Irish were depicted as Neanderthals and Jews as hook-nosed Shylocks, But the Chinese bore the brunt of The Wasp’s venom. Week after week, they appeared as swarming rats, vampires, and the fiendish tools of monopoly capital." (Gray Brechen, "The Wasp: Stinging Editorials and Political Cartoons," Bancroftiana, No. 121, University of California, Berkeley, Fall 2002.)
By the late '80s, the Wasp had lost its chief writer, Ambrose Bierce, and with him much of its satirical edge. It gradually morphed into a journal of humor and society news becoming primarily a vehicle for patent medicine advertisements. It finally folded in the late '90s. It's primary use today is as a much-cited source of anti-defamation materials and as an example of early stereotyping of Chinese immigrants.
Below are images from the pages of The Wasp. Click on images to enlarge.
"Many of the Wasp's cartoons were so topical of the time that they are indecipherable today, referring to long-forgotten scandals and corrupt politicians. Others retain sting— and embarrassment— more than a century on, for they reveal that 19th century San Francisco wasn't the tolerant town we think of today. "All racial and ethnic groups except the normative Anglo-Saxons were fair game for the most degrading caricatures by Keller and others. Irish were depicted as Neanderthals and Jews as hook-nosed Shylocks, But the Chinese bore the brunt of The Wasp’s venom. Week after week, they appeared as swarming rats, vampires, and the fiendish tools of monopoly capital." (Gray Brechen, "The Wasp: Stinging Editorials and Political Cartoons," Bancroftiana, No. 121, University of California, Berkeley, Fall 2002.)
By the late '80s, the Wasp had lost its chief writer, Ambrose Bierce, and with him much of its satirical edge. It gradually morphed into a journal of humor and society news becoming primarily a vehicle for patent medicine advertisements. It finally folded in the late '90s. It's primary use today is as a much-cited source of anti-defamation materials and as an example of early stereotyping of Chinese immigrants.
Below are images from the pages of The Wasp. Click on images to enlarge.
20th Century: Humor/Satire Magazines/Art
LIFE was the name of a leading American humor magazine of the period 1883-1936, and was an important and influential magazine in its time. It was put together by a group of young men who had met at Harvard, and was an outgrowth of the Harvard Lampoon. It hired some of the best and most famous illustrators of its day to produce its covers. Unlike the Harvard Lampoon, Life was self-consciously genteel, and succeeded so well that it became the most influential cartoon and literary humor magazine of its time and served as the model for another humor magazine, The New Yorker. The color covers from the early years of the 20th century essentially defined popular taste in humor. You can see them in archives of MagazineArt.org.
When the founders of Time magazine wanted to start a new magazine that would show America the world, they decided that the title had to be "Life." Since someone was already using that title, they bought it from them. Life (the humor magazine) hadn't been doing well during the Depression and, after losing its name, was eventually absorbed into Judge.
In the galleries below you can see how the early 20th century covers of Life (top gallery) heavily influenced the covers of its ultimate competitor, The New Yorker (bottom gallery). Note that Life's covers usually had a gag-line attached to their cartoon covers.
Below are images from the covers of Life and The New Yorker. Click on images to enlarge.
When the founders of Time magazine wanted to start a new magazine that would show America the world, they decided that the title had to be "Life." Since someone was already using that title, they bought it from them. Life (the humor magazine) hadn't been doing well during the Depression and, after losing its name, was eventually absorbed into Judge.
In the galleries below you can see how the early 20th century covers of Life (top gallery) heavily influenced the covers of its ultimate competitor, The New Yorker (bottom gallery). Note that Life's covers usually had a gag-line attached to their cartoon covers.
Below are images from the covers of Life and The New Yorker. Click on images to enlarge.
THE HARVARD LAMPOON is a student-run humor magazine, published five times every year at Harvard University. To date, it is the oldest continually-published magazine of its kind. The first volume of the Lampoon appeared in February, 1876. Written by seven undergraduates and modeled on Punch, the British humor magazine, the debut issue took the Harvard campus by storm. The early issues of the Lampoon set the pattern for its success: strong emphasis on illustrations, written satire in a variety of formats, and the wild adventures of Jester, the magazine’s natural mascot.
Beginning in 1896, the Lampoon took great pleasure in creating parodies of other magazines. The first was Life, but eventually, the Lampoon staff realized that what they liked parodying most was the Harvard Crimson, Harvard’s daily newspaper. That battle is ongoing.
By the 20th century, the Lampoon had transformed from a publication dedicated to Harvard humor into a mature means of social commentary. The modern Lampoon is characterized by its short, quippy pieces accompanied by humorous comics. Unsurprisingly, its primary influence is The New Yorker, which has a similar format. Today, the Lampoon has a national audience and is available on Harvard’s campus, online, and on Kindle.
Below are images from the pages of the Lampoon. Click on images to enlarge.
Beginning in 1896, the Lampoon took great pleasure in creating parodies of other magazines. The first was Life, but eventually, the Lampoon staff realized that what they liked parodying most was the Harvard Crimson, Harvard’s daily newspaper. That battle is ongoing.
By the 20th century, the Lampoon had transformed from a publication dedicated to Harvard humor into a mature means of social commentary. The modern Lampoon is characterized by its short, quippy pieces accompanied by humorous comics. Unsurprisingly, its primary influence is The New Yorker, which has a similar format. Today, the Lampoon has a national audience and is available on Harvard’s campus, online, and on Kindle.
Below are images from the pages of the Lampoon. Click on images to enlarge.
THE NATIONAL LAMPOON was an American humor magazine which ran from 1970 to 1998. The magazine started out as a spinoff from the Harvard Lampoon. National Lampoon magazine reached its height of popularity and critical acclaim during the late 1970s, when it had a far-reaching effect on American humor and comedy. The magazine spawned films, radio, live theatre, various sound recordings, and print products including books. Many members of the creative staff from the magazine subsequently went on to contribute creatively to successful media of all types.
During the magazine's most successful years, parody of every kind was a mainstay; surrealist content was also central to its appeal. Almost all the issues included long text pieces, shorter written pieces, a section of actual news items (dubbed "True Facts"), cartoons and comic strips. Most issues also included "Foto Funnies" or fumetti, which often featured nudity. The result was an unusual mix of intelligent, cutting-edge wit, combined with some crass, bawdy jesting. In both cases, National Lampoon humor often pushed far beyond the boundaries of what was generally considered appropriate and acceptable. As co-founder Henry Beard described the experience years later: "There was this big door that said, 'Thou shalt not.' We touched it, and it fell off its hinges."
The National Lampoon enterprise eventually branched into successful radio shows, record albums, live stage revues and movies, including Animal House and National Lampoon's Vacation. Dozens of comic legends launched their careers through the publication, including John Belushi, Bill Murray, Chevy Chase, Christopher Guest, and Gilda Radner, all of whom went on to star on Saturday Night Live.
The magazine declined during the late 1980s and never recovered. It was kept alive minimally, but ceased publication altogether in 1998.
Below are covers from the National Lampoon magazine. Click on images to enlarge.
During the magazine's most successful years, parody of every kind was a mainstay; surrealist content was also central to its appeal. Almost all the issues included long text pieces, shorter written pieces, a section of actual news items (dubbed "True Facts"), cartoons and comic strips. Most issues also included "Foto Funnies" or fumetti, which often featured nudity. The result was an unusual mix of intelligent, cutting-edge wit, combined with some crass, bawdy jesting. In both cases, National Lampoon humor often pushed far beyond the boundaries of what was generally considered appropriate and acceptable. As co-founder Henry Beard described the experience years later: "There was this big door that said, 'Thou shalt not.' We touched it, and it fell off its hinges."
The National Lampoon enterprise eventually branched into successful radio shows, record albums, live stage revues and movies, including Animal House and National Lampoon's Vacation. Dozens of comic legends launched their careers through the publication, including John Belushi, Bill Murray, Chevy Chase, Christopher Guest, and Gilda Radner, all of whom went on to star on Saturday Night Live.
The magazine declined during the late 1980s and never recovered. It was kept alive minimally, but ceased publication altogether in 1998.
Below are covers from the National Lampoon magazine. Click on images to enlarge.
MAD magazine began in 1952, the brainchild of publisher Bill Gaines, an eccentric, imposing figure, whose family owned E.C. Comics, best known for Tales From the Crypt. For its first 23 issues, Mad started as a comic spoofing other comics, before switching to a full-size magazine and expanding its satirical range. By 1974, its circulation peaked at more than 2 million. For all of its silliness, Mad actually set legal precedent in the intellectual property arena, making song lyrics, for the most part, fair game for satirists. In 1961, music publishers representing songwriters such as Irving Berlin, Richard Rogers, and Cole Porter filed a $25 million lawsuit against Mad for copyright infringement after Mad published a collection of parody lyrics to some of their songs. Two years later, the U.S. District Court upheld Mad’s right to print 23 of the 25 song parodies under dispute. However, in later years the magazine struggled to keep its edge during the internet era when satirical.
But the magazine struggled to keep its edge during the internet era, when satirical takes on our culture are everywhere and instantly available. After a brief comeback, Mad published it's last print issue in August 2019.
Below are images from the pages of Mad. Click on images to enlarge.
SPY magazine was a monthly satirical publication founded by Kurt Andersen, Graydon Carter, and Tom Phillips, in 1986. It was obsessed with wealthy people and decadence, especially in New York City. It distinguished itself from other publications in part because it measured the people it wrote about by a moral code, and was mercilessly harsh to those the editors found lacking.
They attacked people who were arrogant, venal, or stupid. Donald Trump was a particular enemy, though lesser known financiers, socialites, producers, and restaurateurs were mocked as well.
The magazine was famous in part for its cleverly edited covers (today we would call them "photoshopped," but the term did not yet exist when Spy started doing it).
Spy was not just pranks and insults, however. They commissioned serious investigations into corporations and organizations that they thought were corrupt and the resulting exposes are still cited when people discuss these outfits today.
Below are images from some of the covers of Spy. Click on images to enlarge.
They attacked people who were arrogant, venal, or stupid. Donald Trump was a particular enemy, though lesser known financiers, socialites, producers, and restaurateurs were mocked as well.
The magazine was famous in part for its cleverly edited covers (today we would call them "photoshopped," but the term did not yet exist when Spy started doing it).
Spy was not just pranks and insults, however. They commissioned serious investigations into corporations and organizations that they thought were corrupt and the resulting exposes are still cited when people discuss these outfits today.
Below are images from some of the covers of Spy. Click on images to enlarge.
EMPIRE RISING Is the brainchild of two-time Pulitzer Prize-winning editorial cartoonist and columnist David Horsey of the Los Angeles Times. This impressive series satirizes the presidency of George Bush and everything going on around it. Horsey's work has appeared in hundreds of media outlets.
After graduating from the University of Washington, Horsey entered journalism as a political reporter. His multifaceted career has taken him to national political party conventions, presidential primaries, the Olympic Games, the Super Bowl, assignments in Europe, Japan and Mexico, and two extended stints working at the Hearst Newspapers Washington Bureau. Horsey has published eight books of cartoons, including his two most recent, “Draw Quick, Shoot Straight” and “Refuge of Scoundrels.” For escape, he spends a few weeks each year working as a cowboy in Montana.
After graduating from the University of Washington, Horsey entered journalism as a political reporter. His multifaceted career has taken him to national political party conventions, presidential primaries, the Olympic Games, the Super Bowl, assignments in Europe, Japan and Mexico, and two extended stints working at the Hearst Newspapers Washington Bureau. Horsey has published eight books of cartoons, including his two most recent, “Draw Quick, Shoot Straight” and “Refuge of Scoundrels.” For escape, he spends a few weeks each year working as a cowboy in Montana.