Paul Martin (June 6, 1883 â March 19, 1932) was an American commercial artist and illustrator. He designed the world's largest sign in 1917. It towered over Times Square until 1924. He drew a poster supporting the ongoing war effort in 1918. His artwork appeared on twenty covers of Collier's between 1923 and 1927. Martin won Parents' Magazine "Cover of the Year" award for three straight years from 1928 to 1930. He reshaped the then-famous mascot of Fisk tires in 1930. This new character appeared in thirteen issues of The Saturday Evening Post, 1930. Martin created the official poster for the Girl Scouts in 1931. It was displayed at their troop meetings from 1931 to 1937.
He played in sanctioned tennis tournaments around the New York metropolitan area from 1909 to 1931. This included the U.S. National Championships (now US Open) of 1920, 1921, and 1924. The Paul Martin singles tournament was held for eighty-four years, between 1932 and 2019. He played doubles with Franklin P. Adams, teamed with Vincent Richards, and collaborated on a book with Howard R. Garis. His WWI poster has been displayed at the International Tennis Hall of Fame since 1965.
The golden age of illustration began in the 1880s. Major advancements in printing techniques were then taking place. This included breakthroughs in the halftone process. It made the printing of images for commercial purposes more economical, feasible and realistic. The singular process of wood engraving (strenuous and time-consuming) was replaced with photo engraving (higher level). Howard Pyle was an artist, writer, teacher and innovator. Pyle is often regarded as the "Father of American Illustration." Its renowned luminaries included Charles Dana Gibson, J. C. Leyendecker, Maxfield Parrish, Norman Rockwell, and N. C. Wyeth. However, most illustrators received little recognition. Their artwork was perceived as commercially (not creatively) inspired. This was in direct contrast to the fine artists. Nevertheless, these illustrators communicated and documented the people's aspirations, concerns, customs, humor, ideals, labor, morals & social interests.
The magazine industry relied heavily on advertising revenue. It suffered from the popularity of radio, and especially television. These far-reaching networks were much more appealing to advertisers. The specialized magazines fared better. They targeted specific (not diverse) audiences and suffered fewer losses in readership and revenue. Later came the Internet revolution, which forced numerous periodicals to either shut down or transition to digital formats. Another point is that major advancements in photographic equipment and technology occurred during the 1930s. This resulted in the decades-long shift from illustrated to photographic covers. But the innovative and captivating artistic version persisted. Eventually, graphic design software totally took over.
He was born to Hannah A. (née Morrow) and Robert C. Martin (a brick merchant) in New York City on June 6, 1883. He was the second youngest of nine children. Three of them did not reach adulthood. The family home was located on 31st St. in Manhattan, between 8th and 9th Aves., throughout the 1880s. The Martins moved 5.4 miles north (straight-line distance) to Central Harlem on Edgecombe Ave. in 1890. Young Paul lost two sisters, ages one and sixteen, between 1891 & 1893. The family relocated to another section of Central Harlem at 129th St. and 5th Ave., 1898. They belonged to the Twenty-fourth Street M. E. Church (until 1890) and Calvary Church (until 1908). His father was the of their Sunday schools. Martin immensely enjoyed drawing as a boy. His first regular job was as a brokerage clerk at age 16. He studied commercial art at the National Academy of Design between 1902 and 1906. His instructors included Charles Louis Hinton, Francis Coates Jones, George W. Maynard, and Edgar Melville Ward. His first career job was with the New-York Tribune, 1905. He succeeded the Tribune Stephen H. Horgan as art manager from 1906 to 12. Martin continued to live at home during those years. The family moved from Upper Manhattan to rural Maplewood, New Jersey, 1908. Their new church was located just two blocks away. They lived near a train station, which allowed them to commute into Manhattan. He joined the local tennis club on Baker St., 1909. He started competing in sanctioned tournaments, AugâÂÂSep 1909. They were hosted by the Nyack (N.Y.) and Morristown (N.J.) clubs, sequentially. His older brother Ralph also debuted at Nyack. Ralph was related to Charles Yardley Turner through marriage. Paul's doubles partner while residing in Maplewood was a neighbor, Harry Balch, 1909âÂÂ1912.
Martin married Lauretta Willey (pronounced "will-ee") at the First M. E. Church on Washington St. in Hoboken, New Jersey, 1912. The Rev. Henry J. Johnston officiated. The couple first met years earlier at . Lauretta's siblings were schoolteacher Emma and accountant Walter (who later owned the Willey Book Co.). Their first home together was in the University Heights section of the Bronx, 1912. They relocated one block east to another rental, 1915. The Martins actively participated in tennis tournaments. They played with their local club and on the circuit. He worked for the innovative O. J. Gude Company from 1912 to 19. It was the industry leader in outdoor advertising. His Gude office was first located at 935 Broadway, 1912âÂÂ13 ... and then at 220 West 42nd (Candler Bldg. in Times Square), 1913âÂÂ19. He worked for the advertising firm Gotham Studios from 1919 to 20. Its headquarters moved from 1133 Broadway (St. James Bldg.) to East 24th St., near 4th (now Park) Ave., on January 1, 1920. Martin went freelance and rented a small studio in Aug and Sep 1920, respectively. It was located on East 27th St., between Lexington and 3rd Aves. He could now work independently, with flexible hours, creative control, and (adversely) income uncertainty. He joined the Artists' Guild in December 1920.
Paul and Lauretta moved from the Bronx to a rural, forested area of Millwood, New York, August 1925. Their first owned home doubled as a working studio (upstairs) from 1925 to 1932. Its centerpiece was a long, flat table that held the canvases, drawing pads, paintbrushes and tubes. Also nearby were art books, easels, photo shoot props, and an adjacent darkroom. Natural northern light came in through the large side window. He found artistic inspiration in the secluded and wooded surroundings. He occasionally used family members as models. His niece Edna is writing down the license plate number of a boy's wagon, Liberty cover, September 12, 1925. She is also highlighted on an American Junior Red Cross poster. His mother-in-law is basting a turkey for Thanksgiving, People's Home Journal cover, November 1928. The Martins attended in downtown Ossining.
He died at age 48 of a stomach ulcer. It occurred one week after an operation at Ossining Hospital in March 1932. The service was held at . The survivors included three brothers and one sister. His wife Lauretta (known by family as Lolly) moved to and lived in Mount Vernon, New York, from 1935 to 1972. He was known in tennis circles for his athletic ability, active participation, friendliness, and sportsmanship. The following is a retrospective in the Bronxville Press, August 1932: "[H]is presence was always felt by s [and regulars]. Paul Martin was a synonym for all that was clean and wholesome in the game."
General-interest magazines flourished before the advent of television. One of them was the historically significant Collier's, which experienced a revival under editor William L. Chenery in 1925. Martin drew twenty covers for the magazine between 1923 and 27. This included the Christmas issues of 1924 and 26. Some artists created a niche for themselves by focusing on drawing comical situations, domestic follies, political satire, pretty women, or simple pleasures. His recurring theme was of a youthful boy engaged in various lighthearted moments, which appeared on eighteen covers of Collier's. Their subject matters are as follows: bobbing for apples, loading up on desserts, shooting marbles, playing the flute, wearing a straw hat, shoveling snow, winding up a spinning top, carrying schoolbooks, eating holiday turkey, catching a baseball, playing football, going down a water slide, sleigh riding, happily swimming, saying grace, getting hair shaved, working as a messenger, and daydreaming about fishing. Martin rarely veered from that subject. The most striking departure was a self-portrait. He portrayed himself as a well-dressed, vocal spectator at the horse races.
His drawing style was simple yet bold. It captured the brightness, carefreeness, and innocence of youth. There was a nostalgic quality to them. They resonated with the masses, who had just lived through a catastrophic world war and influenza pandemic. Martin excluded nonessential details (extra people, scenery, structures, trees ...), which allowed viewers to make an instant connection. His paintings are often easy to recognize, since their theme and style stayed fairly consistent. They sometimes gave the illusion of three-dimensional depth. It was achieved through the use of various techniques, such as color intensity variation, linear perspective, and ping. His cover art almost always had a holiday or seasonal theme or reflected the magazine's image. This practice was common back then. It only once corresponded to an article.
Creative Process. Martin began by creating ideas and turning them into conceptual sketches. They were further developed into rough drafts and sent to art editors for possible publication. The ones approved came back with or without a modification request. (The rejects were sometimes submitted elsewhere.) He then hired boys for photo sessions, most of whom lived nearby. The film was developed into prints in a darkroom. He drew the preliminary and final versions, using several of these prints as guidelines. This process gave him more options and flexibility compared to using models. It was also more practical, given children's natural tendency to be active and impatient. He interacted with them from behind the camera to capture the right facial expression. His wife helped out by preparing the models for their scene. Collier's advertising and circulation revenues steadily declined after World War II. The main culprit was the rapid growth of television. Collier's was forced to cease publication in December 1956. Its top competitors (Life, Look, and Post) were able to hold out longer.
Martin designed the Wrigley Company's original light bulb extravaganza, which showcased six acrobatic "spearmen" on a Broadway billboard in 1917. It was the world's largest display panel, at 200 feet by 50 feet. It covered an entire city block in Times Square, between 43rd and 44th Sts. This panoramic was a major tourist attraction for seven years. The Wrigley name was with big-time advertising. He created a poster for the war effort titled "Serve Your Country" (double meaning), which depicted a fashionable young woman serving in tennis. It was for the War Camp Community Service in 1918. Women were encouraged to entertain off-duty soldiers by joining them in activities such as dancing, dining, sightseeing, socializing, and attending theater shows. A silkscreen version of the poster has been on display at the International Tennis Hall of Fame since 1965.
He drew five different scenes of snow activities for the New York, Ontario and Western Railway (a passenger or freight carrier) in 1921âÂÂ22. They described the Catskills of Sullivan County as a lively and refreshing vacation spot. He designed greeting cards for William Edwin Rudge, Inc., 1921. Martin drew a cheerful boy eating Heinz Baked Beans while confidently declaring, "I Know Beans," 1927. He also created two posters for the American Junior Red Cross, 1929âÂÂ30. The first was titled "The Flag of Service the World Around." It featured children in festive costumes behind the globe, with one holding up a large Red Cross flag. The second was titled "Juniors Helping Everywhere," with twenty miniature scenes. It showed children worldwide in various supportive roles.
Martin painted three advertisements for General Electric's distinctive, all-steel "Monitor Top" refrigerator in 1930. The first and most elaborate featured two boys running a lemonade stand. Their mother looked on with approval through the open kitchen window. It appeared simultaneously as a full-page ad in over twelve magazines. The following review appeared in Printers' Ink, 1930: "Electric , 5 cents per glass,' reads the sign of the youthful shopkeepers. ... [They] are soliciting trade in a strenuous manner, as a friendly dog enters into the spirit of the event with challenging barks. ... [I]t is a picture filled with action and story-telling strength. But because the advertised product has been worked in so , the illustration seems doubly effective and relevant." âÂÂW. Livingston Larned. His other "Monitor Top" credits featured a girl playing with building blocks, and two dressed-up girls listening to an enthusiastic sales boy. It was regarded as the first reliable and affordable model for residential use, though at a hefty price.
He designed three billboards for the Hecker H-O (Hornby's Oatmeal) Company of Buffalo, New York, 1931. One showed a confident young football player receiving first aid, who had oats for breakfast. The other two emphasized the cereal's healthiness or deliciousness. These large ads (25 feet by 12 feet) appeared on poster panels, which attracted the attention of passing motorists and pedestrians. They also had short runs in food marketsâÂÂon their walls, windows, or hanging from suspended wires. His drawings were also used to promote businesses on Gerlach Barklow calendars, ink blotter cards, and prints. One of them was identified as "Singin' in the Rain," 1931. It showed a boy sitting and holding an umbrella, surrounded by five puppies. Another drawing pictured a boy reading about scientific theories with some difficulty.
Martin painted a contest-winning poster for the Girl Scouts in 1931. It was titled "Usefulness Beauty Health Truth Knowledge." The contest was conducted by the Art Alliance of America. This organization brought together craftworkers and advertisers. There were two hundred-plus submissions. The judging panel consisted of W. T. Benda (who replaced Charles Dana Gibson), Ray Greenleaf, Rockwell Kent, John La Gatta, Neysa McMein and Edward A. Wilson. Martin's model for the poster was Barbara Smith, a 14-year-old from Darien, Connecticut (previously, Yonkers, N.Y.). Her parents and Martin were lifelong friends. He served as at their wedding back in 1904. The Girl Scouts' National Director, Josephine Schain, presented the top three winners with checks for $100, $200, and $300, . These ceremonial exchanges took place at the Scouts' national headquarters, at 670 Lexington Avenue in Manhattan. The three award recipients then posed together behind their entries. National President Birdsall Otis Edey was one of three consultants, along with executives Anne Hyde Choate and Genevieve Garvan Brady. His poster effectively and faithfully captured this character-building movement. It was displayed on the bedroom walls of troop members and at their meetings (on bulletin boards, stands, or windows) from 1931 to 1937. It also appeared on the covers of Girl Scout Equipment for Fall 1932 and Spring 1933. They all showed a modified version with three raised fingers instead of a salute. Martin said at the award ceremony, "Barbara seems [like] 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."
He was mentioned in a magazine for war veterans as follows: "The cover design on this issue of Foreign Service is a two-color reproduction of the official 1932 Buddy Poppy poster." [It was so named because former soldiers used that word when remembering their killed in WWI.] "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." [Namely, a red artificial flower worn in honor of the fallen Allied soldiers.] "It was completed shortly before the artist's death and is believed to have been his last important assignment [vague]. Those familiar with Paul Martin's career as an artist, declare the 1932 Buddy Poppy poster to be one of his best creations." It was featured nationally in newspapers from 1932 to 33.
His work appeared in a variety of formats, ranging from billboards to greeting cards to calendars. Martin's paintings usually revolved around children, and sometimes included a cute and friendly pup.
The Fisk Rubber Company was making tires for automobiles, bicycles, and carriages by 1901. Its factory was located along the riverfront in Chicopee Falls, Mass. The plant produced about 230,000 tires in August 1921. Fisk struggled financially before and during the Great Depression. It was acquired by U.S. Rubber (makers of the U.S. Royal brand) in 1940. Its worldwide subsidiaries (under various names) received the unifying name of Uniroyal (1966). This mega-company merged with another to form Uniroyal Goodrich (1986). Its tire division was sold to Michelin (1990). Affiliated dealers of Fisk tires included Kmart (1962âÂÂ78) and Discount Tire (1996âÂÂ2014). Inactive: 1981âÂÂ95.
Martin completely reshaped a once-famous and whimsical character in American advertising. It was the Fisk Rubber Company's " boy," who shouldered an oversized tire while dangling a lighted candle. It came with the motoring message, "Time to Re-tire" (debuted in 1910). This catchphrase had a simple . The lad's original prodigious yawn changed to a smile in early 1929. Martin was then commissioned to create a slightly more aged, modern-day figure in late 1929. The aim was to update the heavily publicized trademark while maintaining its charm and familiarity (or core elements). The boy's one-piece sleeper became a two-piece pajama set. Added for extra style were the zip-up slippers. His four-year-old nephew served as the model (from neck down only). The stance and all-important props remained basically intact, but with the latest tire design and a more fashionable, less-tilted candleholder.
Many newspapers ran a story that complimented the new look, MayâÂÂJune 1930. The youngster was described as more energetic, robust, and modern ("in keeping with the times"). The publicity manager at Fisk provided a review in March 1930. An excerpt follows: "a happy, smiling, 100 percent American boy in his little two-piece pajama[s], radiating good cheer, ruddy-cheeked and tousle-headed, snappy and wide awake, standing in the old-time pose."
This updated character appeared in thirteen issues of The Saturday Evening Post, between Feb 8 and Aug 23, 1930. These ads promoted the newly introduced "Air-Flight" tires. A full-length, colorful print of the boy was publicly offered. The cheerful mascot showed up in many different formats. These were either with or without a facial touch-up. (This section pictures three signed variants.) It was featured on the front cover and endpapers of fairy tale or folktale books for children in 1931. Their titles are as follows (eight total): Candy Land, Jack and the Bean Stalk, Little Black Sambo, Peter Rabbit, Pied Piper, Three Bears, Three Little Kittens, and Three Little Pigs. They were generically subtitled Time to Re-tire: A Bedtime Story. The mascot also appeared on ashtrays, bridge score pads, cigarette cases, electrical clocks, jigsaw puzzles, matchbooks, posters & rubber heel replacements for shoes. These were complimentary items for existing or potential customers (excluding the clocks). Martin's lively figure was on retailers' data books, store windows, letterheads, and mailing envelopes. It showed up in miniature form in The American Boy, Boys' Life, along with automotive magazines and hundreds of newspapers from 1930 to 34.
However, Fisk advertisements were fairly rare from 1931 to 1936. Some two-thirds of the Fisk dealers lost their franchise in November 1930. They did not meet the new financial requirement. This drastic corporate downsizing was done to reduce operating costs. It followed three consecutive years of declining sales and mounting debts. The Great Depression had devastated the entire rubber industry through fierce price wars. This downward spiral was already taking place due to competition from mail-order houses. Martin's symbol was never firmly established through a strong promotion campaign. It would have involved significant (yet necessary) expenditures. Fisk defaulted on interest payments to bondholders and entered in January 1931. The process concluded with the naming of a new management team, May 1933. They decided to return to the original character based on public sentiment in late 1934. This reversal was unusual, as other companies had successfully modernized their mascot, some even multiple times.
Timeline. The pajama-clad boy went through <em>three</em> distinct stages, as seen . They are as follows: 1. 1910âÂÂ28, 1935âÂÂpresent (on and off). The original. It was created by Burr Giffen. 2. 1929âÂÂ30. The yawn turned into a smile. Uncredited. 3. 1930âÂÂ34. Modernized. It was updated by Paul Martin. His credits include all images of the two-piece pajamas. It was publicly introduced in the Saturday Evening Post issue dated February 8, 1930. Side note: Norman Rockwell drew paintings of the trade character, which were published in 1917âÂÂ20 & 23âÂÂ25. Overall notes: Occasionally, the old character lingered after a changeover. Minor touch-ups were made in various years.
He built up a reputation for drawing boys. It earned him the coveted commission. A common practice among artists at that time was to create their own niche. The subjects of boys, dogs and pretty women were popular themes.
Artist signed. However, four are imprinted with the words "Cover by Paul Martin." His signature remained fairly consistentâÂÂwith a slanted t crossbar, curved P & M, and an underline mark. Also, the first name was written above the last name.
His artwork on Foreign Service cover was initially sold to Parents in 1930. However, it went unused. Hence, the piece was sold by Parents to American Lithographic and then to Foreign Service. Martin's artwork for Die Hausfrau had previously appeared on Gerlach Barklow products. Parents 25th anniversary issue was dated October 1951. This cover featured miniatures of twenty-five previous covers (one for each year from 1926 to 1950). The included three of Martin's. Their dates of issue were Oct 1928, Aug 1929, & Oct 1930. He therefore won, , Parents' Magazine "Cover of the Year" award for 1928âÂÂ30. The first issue with that long-standing title was "August 1929."
The following list contains thirty-seven known credits, including three from Sep 1925. These are all consumer (not trade) magazines. The latter are noted at the end.
He created covers for four different customer or trade magazines between 1920 & 31. They were Advertising & Selling, Good Hardware, Progressive Grocer (voice of the retail food industry), & Silent Hostess (for homemakers). Martin drew Progressive Grocer first Thanksgiving cover. Coincidentally, his last Parents model later became one of its associate editors, 1956âÂÂ61.
His contributions to short stories include the following:"Short Turns and Encores" by Dorothy Parker and others, Saturday Evening Post, July 29, 1922 p. 16."The Blanket" by Floyd Dell, Collier's, October 16, 1926 p. 18."The Unfairway" by Burford Lorimer (son of George Horace Lorimer), Collier's, December 25, 1926 pp. 22âÂÂ23."Tragedy" by Eve Bernstein, Scribner's Magazine, April 1928 p. 479."On the Dark Trail" by Franklin Holt (real name Russell M. Coryell), Scribner's Magazine, July 1928 p. 71.
The first six listed below are fictional or semi-fictional books for children. It includes a collaboration with Howard R. Garis. This genre often required a more animated, imaginative, and whimsical drawing style (yet still in sync with the story). Credits are in parentheses.
Martin debuted on the circuit in 1909. He was <em>nationally</em> ranked for the first time in 1918 (at No. 91). He was ranked among the top thirty tennis players in the New York metropolitan area, 1920âÂÂ25, 28. (Top twenty, 1923âÂÂ24.) Metro players were not officially ranked until 1920. He was known for making accurate shots from the backcourt. Martin won numerous trophies (or awards) in singles, doubles, and mixed doubles (with Lauretta) between 1919 & 1931. He was the first singles champion of the Sunningdale Country Club at Scarsdale, 1920. Martin won the Lake George and Lake Mohonk singles championships of 1924. His opponents included future Hall of Famers Fred Alexander, Jean Borotra, Francis Hunter, Gerald Patterson, Vincent Richards, Bill Tilden, John Van Ryn, & Marie Wagner. Martin was a doubles partner and longtime clubmate of newspaper columnist Franklin P. Adams, who wrote "Baseball's Sad Lexicon." He was teammates with 14-year-old Vincent Richards, the reigning national boy champion.
Martin and Bill Tilden competed in fifteen or more tournaments together. This included the U.S. National Championships of 1920, 21 & 24. The latter was played at Forest Hills Stadium (opened in 1923) and on its outside courts, Aug 25âÂÂSep 2, 1924. His second-round opponent was former co-World No. 1, Gerald Patterson of Australia. 41-year-old Martin won a set but lost the match, 4âÂÂ6, 4âÂÂ6, 9âÂÂ7, 0âÂÂ6. There was a two-day rain delay after the third set. He competed in four consecutive (for ages 45 and over) at Forest Hills from 1928 to 31.
He was a standout singles and doubles player for two tennis clubs: University Heights (Bronx, ) and County (Hartsdale, N.Y.). Martin was in the fallout of a ruling, 1924. It prohibited players from writing for profit after a certain date. The distinction between amateurism and professionalism was hotly contested and debated from Feb to Dec 1924. Martin came out "in favor of a reconsideration of the matter." He often acted as the women's referee. He organized youth tournaments while serving on the Briarcliff Lodge Sports Club committee.
Ranked tennis players were surveyed for a magazine article in Dec 1929. They were asked, "Do you favor all shots, which occur during rallies?" Martin replied, "The outcome of many a match has been decided (more or less) by a net cord shotâÂÂfor instance, Tilden and Johnston." [This alludes to their finals match at Newport Casino, 1919.] "No good sport enjoys winning in this wayâÂÂand I don't believe the gallery enjoys it, either. We would not think of stopping a match in the middle of an important point and tossing a coin to see who wins the point. That is about what a net cord shot amounts to."
The Westchester County Tennis League was formed as a six-team circuit in 1926. It held the annual Paul Martin singles tournament for eighty-four years, between 1932 and 2019. This event was initiated by player and executive Fenimore Cady, June 1932. The winners had their names engraved on the base of a cup. It was donated by Lauretta in 1934. She and Paul both played in the (US Open). They regularly teamed up in mixed doubles. His wartime painting was once displayed in the main gallery of the International Tennis Hall of Fame. Its gift shop offered scaled-down versions on a coffee mug and postcard.
The following list only includes open or invitational tournaments. They are s, categorized by the event's host. They were all, except one, sanctioned by the United States Lawn Tennis Association. Their results largely determined the player rankings and who qualified for the Nationals. Total finals: 30. A breakdown follows.
Notes: These are the known finals. Results in mixed doubles were often not recorded. Martin also won many other tournaments, which were open only to members of the County Tennis Club in Hartsdale. The Martins sometimes played on the circuit while taking road trips.
This list is based solely on appearances. He lasted until the specified round. National singles (3): 1920-, 1921-2R, 1924-2R. [Lauretta 1921-1R]. National Veterans' singlesâÂÂfor ages 45 and overâÂÂ(4): 1928-, 1929-4R, 1930-3R, 1931-3R. Interest in the event later declined. It became a seniors' division of the US Open in 1968.
Martin was a longtime committee and playing member of the University Heights and lived in the immediate area. He competed in its annual North Side championships from 1913 to 1929 (except for 1914, 26). These open events attracted a large number of entries. Martin reached the semifinals in 1913, 24 & 28. Singles (13): 1915-5R, 1916-3R, 1917-2R, 1918-4R, 1919-5R, 1920-3R, 1922-3R, 1923-4R, 1924-/6R, 1925-3R, 1927-3R, 1928-SF/6R, 1929-2R. Doubles (6): 1913-SF/4R, 1915-3R, 1916-3R, 1919-1R, 1920-3R, 1921-1R. 1922- Mixed doubles: 1923-1R, 1924-2R.
These spans were compiled from periodical and newspaper accounts. Maplewood (N.J.) , 1909âÂÂ12. University Heights (Bronx) TC, 1913âÂÂ26. County (Hartsdale) , 1926âÂÂ32. Martin played on the circuit for 23 consecutive years, 1909âÂÂ31. His wife was active on the circuit between 1914 and 1931. His older brother Ralph participated in tournaments in 1909, 11, 21âÂÂ22. The brothers were doubles partners, 1911.
It took place at the Eastern New York State championships on June 27, 1925. A firsthand account by New York Times sportswriter Allison Danzig follows. Excerpts: