Columbia Library columns (v.39(1989Nov-1990May))

(New York :  Friends of the Columbia Libraries.  )



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  v.39,no.1(1989:Nov): Page 31  

The Charles Saxon Collection
A Bequest



'o reader of The New Yorker magazine over the past thirty-
five years could have failed to be engaged and amused by
the cartoons and covers drawn and painted so elegantly
and evocatively by the late Charles Saxon. His first appearance in
the magazine was in 1943 with a spot drawing of a tollgate; he
became a full-time staff cartoonist in 1956 and soon began to draw
and paint those covers in the style for which he became so recogniz¬
ably well known and for which he is so admired today. An archive
of more than nine hundred drawings and watercolors created over
much of his career, many done for The New Yorker, has been
received at the University by bequest from the artist and is now
housed in the Rare Book and Manuscript Library.

Shortly after graduation from Columbia College in 1940, while
still in his teens, Charles Saxon joined the staff at Dell Publishing
Company as an editor before becoming a pilot in the Army Air
Corps. He continued his work at Dell after the war until he joined
the staff of The New Yorker. His drawings were used in advertise¬
ments for an impressive array of corporations, among them Ameri¬
can Airlines, Bankers Trust, Chivas Regal, I.B.M., Mobil Oil,
United Airlines, and Xerox. Cartoons and illustrations by Charles
Saxon appeared widely in such magazines as Architectural Record,
McCall's Magazine, Sports Illustrated, Newsweek, Town and Country,
Woman's Day, and Gourmet Magazine; in fact, a single issue of the
Wall Street Journal several years ago featured advertisements by the
artist for three different companies. Gaining in popularity and stat¬
ure over the years, his work was collected in three volumes. Oh,
Happy Happy Happy! (1960), One Man's Fancy (1970), and Honesty
Is One of the Better Policies (1984). Examples of the artist's work relat-

  v.39,no.1(1989:Nov): Page 31