Paul Martin (June 6, 1883 – 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. He 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.

Background

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 by photo engraving (higher level). Howard Pyle was an artist, writer, teacher and innovator. Pyle is often regarded as the "Father of American Illustration." Its 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 and social interests. The magazine industry relied heavily on advertising revenue. It suffered from the popularity of radio and television (especially the latter). These far-reaching mediums 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 shut down or go digital for survival. Another point is that major advancements in photographic equipment and technology occurred during the 1930s. This resulted in the decades-long transition from illustrated to photographic covers. But the innovative and enchanting artistic version still lingered. Graphic design software eventually took over completely.

Life

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 Martin clan moved way up to Central Harlem on Edgecombe Ave. in 1890. Young Paul lost two sisters between 1891 & 1893. The family relocated within Central Harlem to 129th St. and 5th Ave., 1898. They belonged to the Twenty-fourth Street M. E. Church (till 1890) and Calvary M. E. Church (till 1908). His father was the superintendent 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 from 1902 to 1906. (Only summer session '06.) 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 the Tribune Stephen H. Horgan as art manager, 1906–12. 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, Aug–Sep 1909. Two total in that period. They were hosted by the Nyack (N.Y.) and then Morristown (N.J.) clubs. His older brother Ralph also debuted at Nyack. Ralph was related through marriage to Charles Yardley Turner. Paul's doubles partner while living in Maplewood was a neighbor, Harry Balch, 1909–1912. 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 Calvary Methodist. 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. 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, 1912–13 ... and then at 220 West 42nd (Candler Bldg. in Times Square), 1913–19. 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, Aug–Sep 1920. 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 (upper floor) from 1925 to 1932. Its centerpiece was a long, flat table that held the canvases, drawing pads, paint brushes 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. Uncle Paul's niece Edna is writing down the license plate number of a boy's wagon, on the Liberty cover of September 12, 1925. She's also highlighted on an American Junior Red Cross poster. His mother-in-law is basting a turkey for Thanksgiving, on the People's Home Journal cover of November 1928. The Martins attended the former Highland Methodist Church in downtown Ossining. He died at age 48 of a stomach ulcer. This was one week after an operation at Ossining Hospital in March 1932. The service was held at Highland (Ossining United) Methodist Church. The survivors included three brothers and one sister. His wife, Lauretta "Lolly" (1880–1972), outlived him by forty years. They both played singles in the Nationals (US Open), and regularly partnered in mixed doubles. She donated the tournament trophy named after him. His wartime painting was originally displayed in the International Tennis Hall of Fame's main gallery. Its gift shop offered a coffee mug and a postcard version. He was known for his athletic ability, active participation, friendliness, and sportsmanship. A retrospective in the Bronxville Press, August 1932: "[H]is presence was always felt by topnotchers [and regulars]. Paul Martin was a synonym for all that was clean and wholesome in the game."

Collier's

General-interest magazines flourished before the advent of television. One of them was the historically significant Collier's, which had a revival under editor William L. Chenery in 1925. Martin drew twenty covers for the magazine between 1923 and 27. This included Christmas issues for 1924 and 26. Some artists created a niche for themselves by mainly drawing comical situations, domestic follies, political satire, pretty women, or simple pleasures. He also made use of a recurring theme. It showed a youthful boy engaged in various lighthearted activities or situations. This included eighteen appearances on the covers of Collier's. Their descriptions follow: bobbing for apples, loading up on desserts, shooting marbles, playing the flute, decked out in 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. He rarely veered from that subject matter. The most striking departure was for 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 the non-essential details (extra people, scenery, structures, trees, etc.), which allowed viewers to make an instant connection. His paintings are often easy to recognize, as their theme and style stayed fairly consistent. They sometimes give the illusion of three-dimensional depth. This was achieved through the use of various techniques, such as color intensity variation, linear perspective, and overlapping. His cover art almost always had a holiday or seasonal theme or reflected the magazine's image. This was common practice back then. It was only once connected to an inside article. Creative Process. Martin started by coming up with ideas and turning them into conceptual sketches. They were further developed into rough drafts and sent to art editors for publication consideration. 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 locally. The film was developed into prints in a darkroom. He drew the preliminary and final versions, using several of them as guidelines. This gave him more options and flexibility than using real-life models. It was also a more practical process, given children's natural tendency to be active and impatient. He interacted with them from behind the camera in order to get 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.

Commercial artist

Martin designed "Wrigley Gum's" light bulb spectacular, 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 light show was a major tourist attraction for seven years. The Wrigley name was synonymous 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 various activities (dancing, dining, sightseeing, socializing, theater, etc.). This poster was silkscreened and has been displayed 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 & freight carrier) in 1921–22. They described the Catskill Mountains in Sullivan County, as a lively and refreshing vacation spot. He designed greeting cards for William Edwin Rudge, Inc. in 1921. Martin drew a cheerful boy eating Heinz Baked Beans in 1927. He also created two posters for the American Junior Red Cross, 1929–30. The first was titled "The Flag of Service the World Around." It featured children in festive costumes behind a globe, with one holding up a large Red Cross flag. The second was titled "Juniors Helping Everywhere." It showed twenty miniature scenes of children worldwide in various supportive roles. Martin designed three billboards for the Hecker H-O (Hornby's Oatmeal) Company of Buffalo, New York, 1931. One showed a confident young football player being patched up, who had oats for breakfast. The other two emphasized the cereal's healthiness and 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 markets—on their walls, windows, or hanging from overhead wires. 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 looks on with approval through the open kitchen window. It appeared simultaneously as a full-page ad in over ten magazines. The following review was made by W. Livingston Larned in Printers' Ink, 1930: " 'Electric Lemonaide, 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 adroitly, the illustration seems doubly effective and relevant." His other "Monitor Top" credits were of 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 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 best man at their wedding back in 1904. His winning entry earned him a $300 check from the Girl Scouts' National Director, Josephine Schain. This ceremonial exchange took place at their national headquarters, on Lexington Avenue in Manhattan. There was another ceremonial exchange immediately afterward, with the painting in full view. Schain had earlier presented $200 and $100 awards to the second- and third-place winners. The top three finishers 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 the 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 [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 were also used to promote businesses on Gerlach Barklow's calendars, ink blotter cards, and prints. One of them was titled "Singin' in the Rain," 1931. It showed a boy sitting and holding an umbrella amid five puppies. Another image depicted a boy reading about scientific theories with some difficulty. His work appeared in many different types of print media. Martin's paintings often included a cute and friendly pup. He created covers for four different trade publications between 1920 & 1931. They were: Advertising & Selling, Good Hardware, Progressive Grocer ("voice of the retail food industry"), and Silent Hostess (for homemakers). Martin drew Progressive Grocer first Thanksgiving cover. Coincidentally, the H-O model (pictured) later became one of its associate editors, 1956–61. Another credit 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 companions 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 pictured in newspapers nationally from 1932 to 33.

Fisk tire boy

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 pumped out some 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 (1962–78) and Discount Tire (1996–2014). Dormant years: 1981–95. Martin completely reshaped a once-famous and whimsical character in American advertising. It was the Fisk Rubber Company's "bedtime boy," who shouldered an oversized tire while dangling a lighted candle. It came with the motoring message, "Time to Re-tire" (debut 1910). This catchphrase had a simple double meaning. The lad's original prodigious yawn changed to a smile 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. Transition Process: 1. The boy's one-piece sleeper became a two-piece pajama set. 2. Added for extra style were the zip-up slippers. 3. His four-year-old nephew served as the model (neck down only). 4. The stance and all-important props remained basically intact, but with the latest tire design and a more fashionable, less-tilted candle holder. Many newspapers ran a story that complimented the new look, May–June 1930. The youngster was described as more boyish, energetic, fit, and modern ("in keeping with the times"). The original review was by the publicity manager at Fisk in March 1930. As 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." Fisk Tires used the now-updated version in ads to showcase its newly introduced "Air-Flights." The character appeared in thirteen issues of The Saturday Evening Post, between Feb 8 and Aug 23 of 1930. It was offered to the public as a colorful art print that could be framed. The cheerful mascot showed up in many different formats. These were either with or without a facial touch-up (three signed variants are pictured). It was featured on the front cover and endpapers of fairy tale or folktale books for children in 1931. Titles follow (8 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 and rubber heel replacements for shoes. These were complimentary items for existing or potential customers (excluding the clocks). Fisk retailers used Martin's lively figure on their data books, display windows, letterheads, and mailing envelopes. It showed up in miniature form in The American Boy and Boys' Life magazines (along with hundreds of newspapers) from 1930 to 34. However, advertisements by Fisk and its dealers were fairly rare from 1931 to 1936. Most of the dealers (two-thirds!) failed to meet the new financial requirements and thereby lost their franchise in November 1930. This drastic corporate downsizing was done to cut 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 figure was never firmly established with a strong promotion campaign. It would have involved significant (yet necessary) expenditures. Fisk defaulted on interest payments to bondholders and entered receivership in January 1931. The restructuring process ended with the naming of a new management team, May 1933. They decided to go back to the original character based on public sentiment in late 1934. This was an unusual regression. Other companies were successful in modernizing their own mascots (some even multiple times). Timetable. The pajama-clad boy went through three distinct stages, as seen in print. As follows: 1. 1910–28, 35–. The original. It was created by Burr Giffen. 2. 1929–30. The boy's yawn became a smile. Uncredited. 3. 1930–34. Modernized by Paul Martin. His credits exclusively included the two-piece pajamas. Its public debut was in the Saturday Evening Post issue of February 8, 1930. Incidental note: Norman Rockwell drew paintings featuring the trade character, which were published in 1917–20, 23–25. Overall notes: Minor touch-ups were made in various years. Occasionally, the old character still showed up after a changeover. He built up a reputation for drawing boys. It earned him the coveted commission. A common practice among artists back then was to create their own niche. The subjects of boys, dogs and pretty women were popular themes.

Magazine cover illustrator

Artist signed. However, four are imprinted with the words "Cover by Paul Martin." His signature remained fairly consistent—with a curved P & M, slanted t-crossbar, and 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, it was sold by Parents to American Lithographic to Foreign Service. Martin's artwork for Die Hausfrau had previously appeared on Gerlach Barklow products. Farm & Fireside became Country Home in early January 1930. Parents' 25th anniversary issue came out in October 1951. Its silver jubilee cover featured miniature versions of 25 previous covers (one for each year from 1926 to 1950). This included three of Martin's. Their dates of issue were Oct 1928, Aug 1929 and Oct 1930. He therefore, in a way, won Parents' prestigious "Cover of the Year" award for 1928, 29 & 30. The first issue with the long-standing classic title was "August 1929." The following list contains thirty-seven known credits, including three from September 1925. They're all from consumer (not trade) magazines. The latter are mentioned under "Commercial artist."

Book illustrator

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. 22–23. *****"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).

Tennis

Martin was nationally 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, 1920–25, 28. (Twice top twenty, 1923–24.) Metro players were not officially ranked until 1920. He was known for making accurate shots. Martin won numerous trophies (or awards) in singles, doubles, and mixed doubles (with Lauretta) between 1919 & 1931. He was the Sunningdale Country Club's first singles champion, 1920. He won the Lake George and Lake Mohonk championships of 1924. Martin's opponents included future Hall of Famers Fred Alexander, Jean Borotra, Francis Hunter, Gerald Patterson, Vincent Richards, Bill Tilden, John Van Ryn, & Marie Wagner. A doubles partner and longtime clubmate was newspaper columnist Franklin P. Adams, who wrote "Baseball's Sad Lexicon." A teammate was the reigning national boy champion, 14-year-old Vincent Richards. Martin and Bill Tilden competed together in over fifteen tournaments. This included the U.S. National Championships of 20, 21 & 24. The latter was played at Forest Hills Stadium (opened in 1923) and on its outlying courts, Aug 25–Sep 2, 1924. His first-round opponent was former co-World No. 1 Gerald Patterson of Australia. 41-year-old Martin won a set but lost the match 4–6, 4–6, 9–7, 0–6. There was a two-day rain delay after the third set. He competed in four consecutive National Veterans' Championships (for ages 45+) at Forest Hills from 1928 to 31. He was a standout singles and doubles player for two tennis clubs: University Heights (Bronx, N.Y.) and County (Hartsdale, N.Y.). Martin was caught up in the fallout of a USLTA 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. The Westchester County Tennis League began play with six teams 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 along the base of one of Martin's prized cups. The following list only includes open or invitational tournaments. They were all sanctioned by the United States Lawn Tennis Association (one exception; next ref.). Their results largely determined the player rankings and who qualified for the Nationals. These are semi-majors, categorized by the event's host. Total finals: 30. A documented breakdown follows.

Wins (11)

Singles

Consolation Singles

Doubles

Mixed Doubles

Runners-up (19)

Singles

Doubles

Mixed Doubles

These are the known finals. Results in mixed doubles were often not printed. Martin also won many other tournaments, which were open only to members of the County Tennis Club in Hartsdale. The Martins sometimes played the circuit while on vacation.

Grand Slams (majors)

This list is based solely on appearances. He lasted until the specified number of rounds. National singles (3): 1920-1R. 1921-2R. 1924-2R. [Lauretta 1921-1R]. National Veterans' singles—for ages 45+ (4): 1928-4R. 1929-4R. 1930-3R. 1931-3R. Interest in the event later declined. It was renamed the US Open Seniors in 1968.

University Heights Tennis Club

Martin was a longtime committee and playing member of the University Heights TC and lived in the immediate area. He competed in its annual North Side tournaments 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-SF/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-disc. Mixed doubles: 1923-1R.

Memberships

These spans were compiled from periodical and newspaper accounts. Maplewood (N.J.) FC, 1909–12. University Heights (Bronx) TC, 1913–26. County (Hartsdale) TC, 1926–32. Martin played on the circuit for 23 consecutive years, 1909–31. His wife was also active on the circuit for a long period. His older brother Ralph participated in tournaments in 1909, 11, 21–22. They were one-time doubles partners.

Featured Match

It took place in the Eastern New York State championships of 1925. A firsthand account by New York Times sportswriter Allison Danzig follows. Excerpts:"[Bill] Tilden and Strachan advanced from the semi-finals of the doubles, by putting out Alfred D. Hammett and Paul Martin at 6–4, 5–7, 6–1, 6–3. ... It required some of the best tennis that Tilden has played here all week, before the Philadelphians were able to overcome the New York pair. Hammett and Martin were always contenders, except in the third set when they slumped badly, and in order to hold them off, Tilden constantly found it necessary to invade his partner's territory and play the opposing pair single-handed[ly]. ... There was nothing to choose between the two teams in the first and second sets. In the third set, Hammett and Martin went to pieces as Tilden became rampant and raked their court with placement drives and volleys. After the Philadelphians had gained a commanding lead, the New York pair allowed th[is] set to go without making much effort, preferring to save their strength for the next chapter. But after the rest period, Tilden returned to the courts to play perhaps his best tennis of the match. Both Martin and Hammett fought with everything they had, and their team work was splendidly coordinated, but [it] all counted for nought against the individual brilliance of Tilden [ranked World No. 1]."

Gallery of poses