Paul Martin (illustrator)

Background

The Father of American Illustration was the illustrious Howard Pyle. Others who gained much fame in this field included Howard Chandler Christy, James Montgomery Flagg, Charles Dana Gibson, J. C. Leyendecker, Maxfield Parrish, Frederic Remington, Norman Rockwell and N. C. Wyeth. The vast majority of illustrators, however, received little recognition compared to the fine arts painters. This was basically due to their artwork being viewed as more commercially than creatively inspired. Nonetheless, illustrators once played a powerful role in communicating the people's aspirations, concerns, customs, humor, labor and social interests. One of them was Paul Martin, whose work appeared on the covers of Collier's, Everybody's, Farm & Fireside, The Farmer's Wife, Liberty, Parents and People's Home Journal from 1923-31. These seven magazines once ranked among the most widely circulated. They all went out of business a long time ago, except for Parents. Their eventual downfall was caused by the changing times (or taste), radio and television (more attractive medium for advertisers) and economics (increased cost/decreased revenue). The more specialized ones that targeted specific audiences, tended to fare better. Another point is that major advancements in photographic equipment and technology took place during the 1930s. This brought about the gradual changeover from illustrated to photographic covers.

Collier's

General interest magazines (mixture of entertainment, pictures, politics, serials, short stories and sports) were once very popular and appealed to mass audiences. One of them was the historically significant Collier's (founded 1888), which had a revival under new editor William Chenery in 1925. Martin drew many of their covers during the Roaring Twenties, including seven in 1925. Some artists created a niche and then stuck with it, such as in drawing comical situations, domestic follies, political satire, pretty women or simple pleasures. His recurring theme was of a youthful boy engaged in various lighthearted activities. This included the following: catching a baseball, eating desserts (pictured below), playing the flute, wearing a straw hat, shooting marbles, shoveling snow, carrying schoolbooks on head, riding a sled, winding up a toy, eating turkey at Christmas, bobbing for apples, playing football (pictured), happily swimming, getting a shaved haircut, saying grace, working as a messenger, daydreaming at school about fishing and going down a water slide. He seldom veered from this subject matter. His simple yet bold drawing style captured the aspects of youth that were innocent and carefree. They reflected the sentimental mood of their time. Martin excluded the non-essential details (extra people, structures, trees, scenery etc.), which allowed viewers to make an instant connection. His paintings were often easy to recognize, since their theme and style remained fairly consistent. They sometimes gave the illusion of three-dimensional depth. This was through the use of various techniques, such as overlapping, color intensity/variation and linear perspective. His cover art never corresponded to anything in particular, but rather had a holiday/seasonal theme or portrayed the magazine's overall image (common practice back then). Martin would mostly hire local boys for photo sessions. His drawings were made directly from photos, not real life (prolonged sittings). This gave him more options and flexibly, as the final version was based on several photos taken during the shoot (along with some improvising). It was also a more practical process, due to children being involved. He would interact with them, until getting the desired natural or candid expressions. His wife assisted in preparing the models for their scenes. Collier's couldn't keep up with the rapidly changing times following WWII, and ceased publication in Dec. of 1956. Its main culprit was television, which dramatically took away from their advertising and circulation revenue. Collier's top competitors (Life, Look & Post) adopted somewhat better to the changing times, which helped them hold out longer.

Graphic Artist

Martin drew a poster titled "Serve Your Country", for the War Camp Community Service in 1918. It showed a fashionable young woman serving in tennis. (A play on words.) Women were encouraged to entertain off-duty soldiers, by participating in various social events (dancing, dining etc.). A silkscreen version of this poster, has periodically been on display at the International Tennis Hall of Fame and Museum in Newport, Rhode Island. Another two were for the American Junior Red Cross. The first was titled "The Flag of Service the World Around" in 1929. It showed children in international costumes around the top of a globe, with one holding a large-size Red Cross flag. The second was titled "Juniors Helping Everywhere" (with twenty miniature scenes) in 1930. Its purpose was to expand awareness of their various worldwide efforts. He also drew a poster that year, for the old Hecker H-O (Hornby's Oatmeal) Company of Buffalo, New York (pictured). It showed a confident young football player, who had oat cereal for breakfast. This advertisement often appeared in food markets; on their walls, display windows or hanging from overhead wires.

He painted three known color advertisements for the all-steel, General Electric "Monitor-Top" Refrigerator in 1930. The first and most elaborate featured two boys running a lemonade stand, with their mother looking on through the open kitchen window. It appeared as a full-page ad in many different magazines around the same time. It's also shown in a video slideshow, which salutes the first affordable model for residential use (though at a hefty price). His other "Monitor Top" credits were of a girl playing with blocks (that spell out the company's initials), and two dressed-up girls listening to an enthusiastic sales boy.

He designed a contest-winning poster titled "Usefulness • Beauty • Health • Truth • Knowledge," for the Girl Scouts in 1931. This contest was conducted by the Art Alliance of America, an organization that brought together craft workers and manufacturers. The six-judge panel consisted of W. T. Benda (who replaced Charles Dana Gibson), Ray Greenleaf, Rockwell Kent, John La Gatta, Neysa McMein and Edward Wilson. Martin's model for the poster was the teenage daughter of family friends from Darien, Conn. (who formerly resided in Yonkers, NY). It earned him a $300 check from the Girl Scouts' national director, Josephine Schain (pictured). This exchange took place at their old national headquarters, on Lexington Avenue in New York City. National president Mrs. Frederick (Birdsall Otis) Edey was one of three consultants, along with executives Mrs. Arthur O. (Anne Hyde) Choate and Mrs. Nicholas F. (Genevieve Garvan) Brady. This poster (partially pictured in insert) later appeared with a salute alteration, on the Girl Scout Equipment Catalog's cover for Fall 1932 and Spring 1933. It captured the spirit of their character-building movement, and was in popular usage until 1937. Martin on picking his subject: "Barbara seems [to be] the personification of all that Girl Scouting means. She is the very spirit of radiant, happy and wholesome young girlhood, and my mind naturally turned to her immediately when I learned of the competition ..."

His drawings also ended up on Gerlach-Barklow calendars, ink blotters (similar to trade cards) and prints for business advertising, such as one titled "Singin' in the Rain" from 1931. It showed a boy sheltering several pups from the rain with an umbrella, while sitting down (pictured). Another showed a boy reading about scientific theories with some difficulty. Martin's paintings often included a loyal and friendly pup (or even several). He drew covers for such trade publications as Progressive Grocer ("voice of the industry" for food retailers), and Silent Hostess (recipes and tips for homemakers) between 1922 & 31. Coincidentally, the helmet-wearing poster boy for H-O Oats (pictured), later served as Progressive Grocer's associate editor from 1957-62. Martin's very first two cover credits were for this food-oriented magazine. His work appeared in many different forms of print media (including outdoor advertising).

His last credit is mentioned in a publication by the Veterans of Foreign Wars in 1932. In part: "The cover design on this issue of Foreign Service is a two-color reproduction of the official 1932 Buddy Poppy poster. [Named by soldiers in tribute to their comrades, who perished in the Great War.] The original was painted in oil by the late Paul Martin, noted New York poster artist, who died suddenly on March 19th following a serious operation. The poster has been pronounced as one of the most striking and appropriate designs ever used, to depict the symbolism of the Buddy Poppy. [A bright-red artificial flower that was worn in memory of the fallen, WWI Allied-soldiers.] It was completed shortly before the artist's death and is believed to have been his last important assignment. Those familiar with Paul Martin's career as an artist, declare the 1932 Buddy Poppy poster to be one of his best creations."

The Fisk Tire Boy

Prelude: The Fisk Rubber Company (as originally known; founded 1898) switched from primarily producing bicycle to automobile tires in 1901. Their plant was located along the riverfront in Chicopee Falls, Massachusetts. Its facilities were making 5,000 tires a day in the 1920s. Fisk struggled financially during most of the 1930s. They were bought out by U.S. Rubber (1940), which became known as Uniroyal Inc. (1961). Through a merger, their name changed to Uniroyal Goodrich (1986). This company sold its tire division to Michelin (1990). The Fisk Tire brand was actually discontinued in the mid-late 1960s. Michelin started reproducing them in 1996. This revitalized brand is sold through Discount Tire (1996-To Date).

He completely reshaped one of the most famous characters in the history of American advertising. It was the Fisk Tire Company's (ready for bed) sleepy boy, who shouldered an oversize tire while dangling a lighted candle. It came with the catchphrase "Time To Re-tire" (debut 1910). This slogan had a simple double meaning. A facial alteration turned the yawning into a smiling boy in early 1929. Martin was then commissioned to come up with a slightly more aged, modern-day figure in late 1929. The objective was to update the heavily publicized trademark, while still maintaining its charm and familiarity. The young lad's one-piece sleeper became a two-piece pajama, during the changeover process. The slippers were also added. His four-year-old nephew was used as the model (neck down only). Still, the pose and all-important props remained basically intact (though with the current tire design and a more fashionable—less tilted candle holder). Fisk's Publicity Manager described this new look to a magazine writer, in early 1930. As follows: "...a happy, smiling, 100% American boy in his little two-piece pajama, radiating good cheer, ruddy-cheeked and tousle-headed, snappy and wide awake, standing in the old-time pose ..." This new version was initially used by Fisk Tires to showcase their Air-Flight brand, in advertisements and promotions. This included twelve times in the Saturday Evening Post, between Feb. 8 and Aug. 23, 1930 (pictured atop). It was also offered to the public as an 11x14" art-print, via a special mail-in coupon offer in 1930. The image appeared—sometimes with a slight facial change—in other formats as well, such as on the cover (and inside cover) of their six promotional children-books subtitled "Time to Re-tire / A Bedtime Story" in 1931. Its subjects: Candy Land, Jack and the Bean Stalk, Little Black Sambo, Peter Rabbit, Three Bears and Three Little Kittens. Plus on ashtrays, bridge score pads, electrical clocks, five different jigsaw puzzles (#1-of-set pictured) matchbooks, posters and rubber heel replacements for shoes. These items were either freebies, or giveaways with an automotive purchase. Martin's version was used by Fisk retailers on their data books, display windows, letterheads and mailing envelopes (pictured). It appeared in a scaled-down form, in Boys' Life and other magazines (along with hundreds of newspapers) from 1930-34. Fisk Tires then went back to the original sleepy boy in 1935. Incidentally, Norman Rockwell drew a series of paintings surrounding the character, which were published in 1917-19 and 1924-25. Other artists who inked the character prolifically were J.F. Kernan and Leslie Thrasher.

Timetable. Three stages of the pajama-clad boy (based on its appearance in print or on advertising material): a. 1910-28, 35-onward (created by Burr Giffen, an Agency Art Director). b. 1929-30 (uncredited change of yawn into smile). c. 1930-34 (modern redesign by Paul Martin).

Excerpt from a 1912 magazine article. "It was in 1910 that the 'Time to Re-Tire' boy was created, appeared first in a lithographed wall hanger in four colors, and later all over the country for poster display. This is the now familiar picture of the little boy ready for bed, lugging a large Fisk tire on his arm. His reception was sufficiently enthusiastic to cause the advertiser to distribute postcards and reprints in which the boy was the central figure."

Personal life

He was born to Hannah and Robert Martin in New York City on June 6, 1883. He was the youngest of their seven children. Their family home was then located on 31st Street in Manhattan. They later moved up to 129th Street. Martin immensely enjoyed drawing as a boy. He studied commercial art at the National Academy of Design in New York City from 1902-06. He then started working for an outdoor advertising firm, and competing in sanctioned tennis tournaments. Martin married Lauretta Willey in 1912. (Her father-& later brother-owned the Willey Book Company.) Their first home was in the University Heights section of The Bronx. He joined the Artists' Guild and went freelance in 1921. Martin was once one of the top-thirty ranked tennis players in the New York metropolitan area. He won numerous trophies in singles, doubles and mixed doubles (with Lauretta) from 1919-31. This included, for example, one for capturing the inaugural championship at Sunningdale Country Club in 1920. Others were for the Lake George and Lake Mohank Championships of 1924. Martin's opponents included future Hall of Famers Jean Borotra, Francis Hunter, Gerald Patterson, "Boy Wonder" Vincent Richards and Marie Wagner. (Also Walter Merrill Hall, Robert Kinsey & Dr. William Rosenbaum.) Martin competed with Bill Tilden in several tournaments, including three U.S. National/US Open Championships. He played number one singles and doubles for both the University Heights (Bronx, NY) and County (Scarsdale, NY) Tennis Clubs. He sometimes served as a referee. Martin organized tournaments for youngsters, as a member of the Briarcliff Lodge Sports Club committee. The Westchester County Tennis League is the oldest continuously-running of its kind, in the United States (est. 1924). They hold the annual Paul Martin Singles Tournament. The winners of this event have their names engraved, on one of his prized cups (pictured). The Martins moved from The Bronx to a rural area of Millwood, New York in 1925. Their new two-story home, doubled as a working studio (upper floor) from 1925-32. Its centerpiece was a long flat-top table which held the canvases, drawing pads, paint brushes and tubes. Also nearby were art books, easels and props for photo shoots. He occasionally used family members as models. Uncle Paul's niece is shown writing down the license number of a boy's wagon (for knocking over her doll carriage), on the Liberty cover of September 12, 1925. She's also highlighted on an American Junior Red Cross poster. His mother-in-law is shown basting a turkey for Thanksgiving, on the People's Home Journal cover of November 1928. Martin died of ulcers at age 48, following a major operation at Ossining Hospital in 1932. The funeral service was held at Highland Methodist Church in Ossining. He was survived by a sister and three brothers. His wife/mixed doubles partner Lauretta "Lolly", who once played in the singles draw of the US Open, survived him by over forty years. She donated the tournament trophy named after her husband. His silkscreen print "Serve Your Country" was once prominently on display, in the main room of the International Tennis Hall of Fame and Museum. He was known for his athletic ability, active participation, friendliness and sportsmanship.

Illustrated & Signed Mag Covers

(Or else imprinted with the words "Cover by Paul Martin." His artwork featured on Foreign Service was initially sold to Parents in 1930. They ended up not using the piece and so it was resold. His artwork featured on Die Hausfrau [published in Milwaukee, Wis.] of a boy with five pups, was initially used by the Gerlach-Barklow Calendar Company [pictured above]. Farm & Fireside changed their name to Country Home in early 1930.)

(Parents' 25th anniversary issue came out in Oct. of 1951. Its unique cover featured 25 of them reproduced in miniature form [one for each year from 1926 to 50]. Three of Martin's covers made it onto this Silver Jubilee edition. They came from the issues of Oct. 1928, Aug. 1929 and Oct. 1930.)

The following list contains thirty-six known credits, excluding trade publications. It encompasses three different magazines from Sept. of 1925.

Illustrated Books

(His artistic contributions to short stories, include the following foursome. 1. Saturday Evening Post: Short Turns and Encore by various writers, July 29, 1922 p. 16. 2. Collier's: The Unfairway by Burford Lorimer, Dec. 25, 1926 pp. 22–23. 3. Scribner's Magazine: Tragedy by Eve Bernstein, April 1928 p. 479. 4. Scribner's Magazine: On the Dark Trail by Franklin Holt, July 1928 p. 71.)

The following list contains seven fictional books (novels) that were directed at boys, girls or both.