Car Talk: 1926

Screen Shot 2015-09-28 at 4.36.32 PM
Jan. 23, 1926 cover by James Daugherty (aka Jimmie-the-Ink)

As if covering the nightclub scene and the fashion set wasn’t enough, Lois (“Lipstick”) Long found the time to attend the National Automobile Show at the Grand Central Palace and offer her insights and criticisms on the latest in automotive design.

The show featured more than 500 new models, bigger and more powerful cars mounted on new-fangled balloon tires. There were also cheaper cars available–GM introduced the Pontiac line to appeal to the mass market, and other manufacturers lowered their prices in an effort to lure customers. Visitors packed the show despite the fact that the city streets were already hopelessly clogged with traffic and navigating them was difficult and often perilous. Al Frueh offered his take on the traffic situation with a little doodle in “The Talk of the Town” section (featured above).

Lois Long gave readers her usual straightforward assessment of the show (her Danish pastry metaphor in the first paragraph is spot on). Note her list of American car companies, many of which are long gone:

Screen Shot 2015-10-05 at 10.05.54 AM

EB01d259_PREVIEW
No doubt Lois Long walked by this Packard special sport phaeton, prominently displayed at the 26th National Automobile show. (Wayne State University)
20121219PalaceEmbed3-blog480
The 26th National Automobile Show was at the Grand Central Palace, which occupied the block of Lexington Avenue between 46th and 47th Streets. It was razed in 1963. A 44-story office tower, 245 Park Avenue, took its place. (New York Times)
Screen Shot 2015-10-02 at 10.28.49 AM
A Cleveland auto manufacturer, Chandler, took advantage of the moment by placing this ad in the Jan. 23 issue of The New Yorker.
8595980515_1e1fa5e35e
ZOOM ZOOM…A blue-and-white 1926 convertible Chandler. The company folded in 1929. (Steve Brown, Flickr)

***

“The Talk of Town” editors were bemused over the news that artist Maxfield Parrish had received “a check in six figures” following his first-ever exhibition. It was reported that Parrish received $80,000 (roughly equivalent to $1 million today) for a single painting, which the editors suggested made him “the highest paid artist living.” They also wondered “if he gets amusement out of being the highest paid painter,” since Parrish was known for wanting to be left alone, and until recently was “not well off” because no one “could persuade him to the sell the pictures with which he lined his house.”

Screen Shot 2015-10-05 at 11.56.06 AM
A 1926 Edison MAZDA calendar featuring artwork by Maxfield Parrish. (icollector.com)

In a previous issue (Dec. 12, 1925), New Yorker art critic Murdock Pemberton wrote a dismissive critique of the young Parrish’s work and noted that the artist was largely glorified in American advertising and not in serious art circles. This was followed by another “Talk” item in which the editors sneered at the trade calendar market that fed the popularity of artists like Parrish:

Screen Shot 2015-10-02 at 10.18.03 AM

Screen Shot 2015-10-02 at 10.18.15 AM

Screen Shot 2015-10-02 at 10.18.26 AM

Thomas Kinkade Painter of Light 2015 Day-to-Day Boxed Calendar
Another “Painter of Light”…I add this for comparison. Thomas Kinkade made a lot of money off the calendar trade until he died in 2012.

And to close, this message (illustrated by Peter Arno) from Miltiades Egyptian cigarettes. Apparently they empower you to call your non-smoking friend “fatso.”

Screen Shot 2015-10-05 at 10.10.09 AM

Next Time: Cuban Idyll

Screen Shot 2015-10-05 at 5.07.09 PM

Published by

David O

I read and write about history from the perspective that history is not some artifact from the past but a living, breathing condition we inhabit every moment of our lives, or as William Faulkner once observed, "The past is never dead. It's not even past." I read original source materials, such as every issue of The New Yorker, not only as a way to understand a time from a particular perspective, but to also use the source as an aggregator of various historic events. I welcome comments, criticisms, corrections and insights as I stumble along through the century.

Leave a Reply

Fill in your details below or click an icon to log in:

WordPress.com Logo

You are commenting using your WordPress.com account. Log Out / Change )

Twitter picture

You are commenting using your Twitter account. Log Out / Change )

Facebook photo

You are commenting using your Facebook account. Log Out / Change )

Google+ photo

You are commenting using your Google+ account. Log Out / Change )

Connecting to %s