A brief Wikipedia entry is here. For more details you might want to read his Los Angeles Times obituary.
Although Wilson drew black and white cartoons for The New Yorker, his preference was for full-page cartoons printed in color -- a comparative rarity in the cartooning world. In Wilson's case, it was Playboy Magazine that provided that venue along with advertisements for New England Life, an insurance company.
Viewing a number of his cartoons on the Internet, the things that strike me about Wilson are: (1) his skill at creating believable personalities for his subjects, (2) the large amount of research he must have done to attire those subjects, and (3) the additional research expended to accurately detail the environments in which they were placed.
That is, the jokes were funny, but their context was far more believable than found in run-of-the-mill cartoons. Let's take a look.
The German planes are Albatros V's and the French fighter is a Nieuport 24 bis. I'm not sure about the escadrille symbol on the side because I couldn't find it in my heap of reference material. Escadrille SPA 48, an outfit that flew SPADs towards the end of the war, used a rooster, but the design was different. The inscription in the upper left corner is to fellow cartoonist/animator Bill Peckmann.
The chandelier/window group in the background suggests the Eiffel Tower -- was that intentional on Wilson's part, or is it my fevered imagination?
Da Vinci invents the Pizza. Note the earlier signature style.
Note the Black Forest type setting and all that architecture.
This shows off Wilson's skill in characterization, costumes and posing.
He must have researched Middle Ages crane designs for this cartoon.
Note the East 60s New York City neighborhood evoked by the background.
This was a popular magazine around the 1970s.
All the New England Life ads in this campaign had the same caption. Also the setting of impending doom.