arts – A New Yorker State of Mind

Through the Looking Glass

Above, from left: When Teddy Roosevelt announced in 1912 that he would run for president against his former VP, William Howard Taft, Brown Brothers sent photographer Charles Duprez to Oyster Bay to take this famous photo; President Taft and his wife, Helen “Nellie” Taft, in 1909; famed New York Giants pitcher Christy Mathewson warms up before a game, circa 1912. (liveauctioneers.com/cabinetcardgallery.com/psacard.com)

Before there were photo agencies like Magnum or archives such as Getty Images there was a company named Brown Brothers, the world’s first stock photo agency founded by Arthur and Charles Brown in New York City in 1904.

March 24, 1934 cover by **Garrett Price.**

“The Talk of the Town” looked in on Brown Brothers, “the largest collection of photographs in the world—more than a million,” including a famous image of Teddy Roosevelt and the first photographic portrait of a woman’s face.

Brown Brothers photos could be seen everywhere in the early 20th century—their staff of twelve photographers provided images to New York newspapers at a time when the technology for publishing photos in the dailies was in its infancy and most papers didn’t employ staff photographers. Even the venerable New York Times hired the Browns to cover news events until they established their own team of photographers.

LITTLE DID **DOROTHY DRAPER** KNOW that she would become world famous when she sat for this photo (left) taken by her brother **Dr. John W. Draper** in his Washington Square studio at NYU in 1839 or 1840. Dorothy had to sit unblinking for the 65-second exposure—apparently her brother dusted her face with white flour to enhance the contrast. The Drapers still go down in history as creators of the oldest photo of a woman; at right, Dorothy Draper in the 1890s, in a photograph taken by her nephew. (boweryboyshistory.com/MCNY)

ONE IN A MILLION…The early 20th century image at left is just one of as many as three million images amassed in the Brown Brothers archive; at right, a Brown Brothers archivist at work. (Pinterest/sportscollectorsdigest.com)

Note: The Brown Brothers’ archive of photos and negatives went up for sale in 2014, and was ultimately acquired by Leland’s in 2020.

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De Terraplane!

E.B. White (in “Notes and Comment”) was also looking at a photo, or rather scrutinizing one that was featured in a Saturday Evening Post advertisement for Hudson’s Terraplane:

…here is the ad from the Post…

…and a closer look at the image, which had White seeing double.

(Both images courtesy The Saturday Evening Post)

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Escape Artist

In his “Of All Things” column, Howard Brubaker included the following item about a new telescope, ostensibly to set up a quip about John Dillinger’s recent prison break (his second):

YOUR DAYS ARE NUMBERED…The FBI issued this “Wanted” poster of gangster **John Dillinger**— “Public Enemy No. 1″—in June 1934. The Feds gunned him down a month later. (AP Photo)

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Playing Nice

The New Yorker commented on the trend toward fewer fights in the world of hockey, and although fighting in general ebbed a bit through mid-century, it nevertheless remained a staple of the game. Indeed the New York Rangers founder, Tex Rickard, who also promoted boxing at Madison Square Garden, knew quite well that hockey fights were one reason folks attended the games.

FACE OFF?…At left, goaltender **Andy Aitkenhead** of the New York Rangers padded his legs and arms but put his clean-shaven mug on the line in December 1934— it wasn’t until 1959, 42 years into the NHL’s existence, that a league goalie wore a mask on the ice. At right, New York Rangers captain **Bill Cook** (right) flanks coach and manager **Lester Patrick** alongside **Frank Boucher** on the ice at the Chicago Stadium in November of 1934. (Pinterest)

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From Our Advertisers

We begin with this sumptuous ad from Packard, appealing to those who could afford to own this luxury brand…

…if you couldn’t afford a Packard, you could rest assured that even a well-heeled deb could be happy with a Chevy…

…the folks at Powers Reproduction continued to tout the wonders of their color photography, even if their cake looked less than appetizing…

…Fanny Brice was appearing with the 1934 Ziegfeld Follies on Broadway, so the folks at Spud jumped on her celebrity bandwagon…

…while R.J. Reynolds was suggesting we replace our chewed up pencils with a nice Camel cigarette…now, don’t you feel better?…

…the Canadian distillery giant Gooderham & Worts offered all sorts of options to calm our jangled nerves in this two-page spread…

…while the Germans continued to entice us onto their cruise ships perfected by science and featuring “the strapping sons of sailor families”…hmmm…

…in 1934 the New Yorker began featuring mostly wordless cartoons on the opening page of “The Talk of the Town,” including this one by Robert Day featuring Mayor Fiorello LaGuardia checking up on city employees…

…Richard Decker gave us an Irish Sweepstakes winner from Brooklyn who displayed some modesty and media savvy…

…Decker again, with the latest in perambulators…

…Otto Soglow’s Little King put his back into a ceremonial groundbreaking…

…Peter Arno’s sugar daddy received some not-so-happy returns…

…one of William Steig’s “Small Fry” was doing some serious reading…

…and James Thurber’s war continued from the rooftops…

…on to March 31, 1934…

…where we find Alice Frankforter covering an exhibition dubbed “A Mile of Art.” I’m guessing critic Lewis Mumford passed on this opportunity to offer some blistering commentary. As for Frankforter, she found the spectacle puzzling, if not irritating. An excerpt:

Constantin Alajalov offered his perspective on the art world stunt with this bit of spot art…

…and more from Frankforter, now reaching a state of exhaustion and near-delirium as she approached the end of the exhibit:

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Biblical Babbitts

Frank Buchman’s First Century Christian Fellowship (aka the Oxford Group) meeting in New York featured a lot of people chuckling and bubbling, but all that forced conviviality left critic Edmund Wilson feeling “quite morose.” Writing for the “A Reporter at Large” column, Wilson looked in on the group as they awaited Buchman’s arrival at a preliminary rally. The column was subtitled, “Saving the Better Classes and Their Butlers.” An excerpt:

Like other critics at the time, Wilson saw “Buchmanism” as bourgeois optimism and boosterism, interested more in converting the souls of the wealthy and celebrated rather than serving the needs of poor.

ODD COUPLE…**Frank Buchman** liked to be seen with the rich and famous. In 1939 he asked for a half hour of **Mae West’s** time, ostensibly to get this photo of him sharing some wisdom from his “Moral Re-assessment” booklet. West seems less than enamored by the encounter, regarding Buchman as some sort of alien creature; right, Buchman on the cover of April 20, 1936 edition of *Time*, which identified him as “Cultist Buchman.” (maewest.blogspot.com/Time)

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Carnegie’s Couture

Vogue magazine fashion editor Nancy Hardin and the New Yorker’s fashion editor Lois Long teamed up on a profile about Hattie Carnegie (1889 -1956) titled “Luxury, Inc.” Born Henrietta Kanengeiser in Vienna, Carnegie immigrated with her family to New York in 1900; nine years later she adopted the name “Carnegie” after Andrew Carnegie, the richest person in America. Through hard work and an inherent instinct for what American women desired, she built a fashion design business that thrived in Depression and catered to stars and celebrities including Tallulah Bankhead, Joan Fontaine, Lucille Ball, and Joan Crawford. An excerpt, with illustration by Hugo Gellert:

FUR SURE…**Hattie Carnegie** posing for a 1951 *Vogue* magazine photo. (Vogue)

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Steampunk Dream

In my previous entry I featured Robert Coates’s observations on the new Machine Art exhibition at the Museum of Modern Art. For the March 31 issue critic Lewis Mumford, celebrant of the simple and unpretentious, waxed nostalgic over the novel exhibit:

I’M A LITTLE TEAPOT that made a big advance in the design world, according to critic **Lewis Mumford.** (MoMA)

Alan Dunn was also inspired by the exhibit, as evidenced in this cartoon from the April 7 issue…

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More From Our Advertisers

Founded in October 1933, the men’s magazine Esquire took off with a bang, and the publishers were not shy about boasting of its early success…

…cover of the April 1934 issue, featuring the mustachioed mascot Esky…based on a drawing by cartoonist E. Simms Campbell, Esky was featured on the cover in various situations until 1961…

…Peter Arno’s “Whoops Sisters” appeared sixty-three times in the New Yorker between 1926 and 1927 before Arno retired them (they occasionally popped up in other publications, and in a 1931 Cunard ad)…it seems odd that they would make an appearance in a cheap thermometer ad in 1934…at any rate, it is difficult to tell if this is by Arno or by a clever forger…

…there’s no mistaking the cartoonist behind this ad…

…and this one by Otto Soglow…

…and we close our advertising section by raising a glass to Frankfort Distilleries…

…on to our March 31 cartoons, and a lineup of New Yorker regulars Abe Birnbaum…

…Barbara Shermund…

…Mary Petty…

…and James Thurber, with a break in the battle…

Next Time: America’s Sweetheart…

Art of the Machine

Above, at left, self-aligning ball bearing from SKF Industries, featured in MoMA's 1934 Exhibition of Machine Art; at right, judges for the exhibit were aviator Amelia Earhart and professors John Dewey and Charles R. Richards, holding first, second and third prizes, respectively. (MoMA)

The notion that machine-made objects have aesthetic value has been with us for some time, dating back to avant-garde movements of the early 20th century such as Futurism, which influenced other schools, including the Bauhaus and De Stijl. However, the idea that a museum would display a propeller or a vacuum cleaner as a work of art was startling to many in 1934.

It had been a little over twenty years since New York art patrons experienced their first shock of the new at the 1913 Armory Show. By 1929 the city had established the Museum of Modern Art, which opened the exhibition Machine Art on March 5, 1934, at MoMA’s second location—the old Barbour mansion at 11 West 53rd Street (razed in the late 1930s and replaced by today’s museum).

Novelist and art critic Robert M. Coates (1897–1973) paid a visit to the Machine Art exhibition and wrote of the experience in “The Talk of the Town.” Coates was no stranger to the avant garde, having himself embraced literary innovation and experimentation as a novelist. James Thurber is credited with bringing Coates to The New Yorker in 1927—the two became close friends—and Coates would stay forty years with the magazine. Excerpts:

EXTRAORDINARY ORDINARY…Clockwise, from top left: According to MoMA director **Alfred H. Barr,** Jr, the 1934 *Machine Art* exhibition celebrated the machine’s abstract and geometric beauty; MoMA found its second home—the Barbour mansion at 11 West 53rd Street—in 1932; sign on West 53rd advertising the exhibition; outboard propeller by Aluminum Company of America (Alcoa); collection of scientific beakers and flasks from Corning Glass Works. (MoMA)

KA-CHING!…*Machine Art* featured Model 1934 from National Cash Register; at right, Electrochef range, model B-2, designed by **Emil Piron** for Electromaster Inc. Objects featured in the exhibition were selected by noted architect **Phillip Johnson**, who was the founding chairman (1932-34) of the museum’s Department of Architecture. (MoMA)

IN A NEW LIGHT…Springs and wires took on new perspectives at the *Machine Art* exhibition. From left, the apparent first-prize winner (based on the photo of Earhart at the top of this entry)—a section of a large spring; cross-section of wire rope; and typewriter carriage and motor springs, all produced by American Steel & Wire Company, a subsidiary of US Steel. (MoMA)

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Salad Days

Swiss-American restaurateur Oscar Tschirky (1866-1943), who was known throughout the world as Oscar of the Waldorf, worked as maître d’hôtel of the Waldorf Astoria in New York City from 1893 to 1943. He is credited with having created the Waldorf salad, along with any number of cocktail recipes. “The Talk of the Town” noted his latest concoction:

WINNING OSCAR…From 1893 to 1943 **Oscar Tschirky** was the Waldorf-Astoria’s public face and a gracious host who made both the great and the not-so-great feel welcome. At left, in 1923; at right, Tschirky samples the first shipment of beer to arrive at the Waldorf-Astoria when the brew became legal again in April 1933. (Library of Congress/Karl Schriftgiesser)

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Unburdened

In the March 17 issue, writer and poet Langston Hughes (1901–1967) published the first of three fiction pieces that would appear in The New Yorker (one posthumously in 2016). In the short story “Why, You Reckon,” Hughes tells the tale of two hungry Black men who rob a rich white man by pushing him into a basement coal bin—one of the Black men takes the white man’s money, jewelry, shoes and overcoat, then rushes off, leaving his companion without any of the loot. To the companion’s surprise and befuddlement, the white man is left excited by the incident, because it is the first real thing that has happened to him. Here are the final lines of the story:

HARLEM RENAISSANCE LEADER **Langston Hughes** in a 1936 photo by **Carl Van Vechten.** A prolific writer and poet, Hughes published three short stories and three poems in *The New Yorker.* (Wikipedia)

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From Our Advertisers

New Yorker ad sales were booming, and blooming with color…we kick it off with this ad from Coty touting “3 New Boxes for Face Powder!”…so why are there four boxes in the ad?…

…the obvious answer to the question posed below would be “wealth and privilege…and youth”…the “Eleanor Roosevelt” featured in this Pond’s ad is obviously not the wife of FDR, but rather Eleanor Katherine Roosevelt, the teenaged daughter of Assistant Secretary of the Navy Henry Latrobe Roosevelt…

…speaking of the high seas, I have to admit I sigh a little when I see ads like this, obviously staged, but suggest a style of travel that is as extinct as the T. Rex…

…perhaps those folks on the boat were enjoying a splash of Perrier in their evening cocktails…

…or maybe the domestic White Rock was on ice…why is the rich old coot so much shorter than his wife?…I guess it emphasizes her relative youthfulness and her maternal obligations to a child-like older man…

…their proportions are similar to Jiggs and Maggie, but that’s another story…

…R.J. Reynolds was back with their “jangled nerves” theme on behalf of Camel cigarettes…

…maybe your tires will hold, but have you checked your brakes lately?…

…in the 1930s the anti-war organization World Peaceways ran a series of provoking ads on the artificial glories of war…some magazines, including The New Yorker, ran these ads free of charge or at reduced rates…

…a closer view of the explanatory copy at the bottom of the ad…

…speaking of war, James Thurber opens our cartoons on a Connecticut battlefield…

…Al Frueh contributed this illustration for a two-part profile of entertainer and theatrical producer George M. Cohan…

…Alain (Daniel Brustlein) offered this spot art for the opening calendar section…

…Peter Arno gave us two fellows on thin ice…

…cartoonist Gregory d’Alessio made his first appearance in The New Yorker…

…Barbara Shermund was back with some tax advice…

…which this gentleman (by Alain) might have found useful…

…and we close with Mary Petty, and a little brown-noser with a taste for greens…

Next Time: Through the Looking Glass…

Rocky’s Cover-Up

On April 28, 1933, just two days before the RCA Building was to open to new tenants, artist Diego Rivera added a portrait of Vladimir Lenin to the mural he was painting in the building’s lobby.

Feb. 24, 1934 cover by **Garrett Price.**

When Nelson Rockefeller asked Rivera to replace Lenin with a portrait of an “everyman,” Rivera refused, stating that he would prefer to see the whole mural destroyed than to alter it. Two weeks later Rivera was paid and dismissed from the job; carpenters immediately covered the mural in a white cloth. Fast forward to Saturday, February 10, 1934, when workers showed up late in the evening and began chipping away at the plaster bearing the mural, reducing Rivera’s artwork to dust. E.B. White, in his “Notes and Comment,” had this to say about that fateful night:

DUST TO DUST…**Diego Rivera** working on his mural, *Man at the Crossroads*, in the RCA Building lobby in 1933. At right, workers quickly covered up the mural after Rivera was dismissed from the job. One of Rivera’s artist assistants, **Lucienne Bloch**, clandestinely took the photo before she was escorted from the building. (Wikipedia/6sqft.com)

ARTEM INTERRUPTUS…Mexican artist **Diego Rivera** stands with a copy of the mural he painted at Rockefeller Center that was eventually destroyed. (A. Estrada /Courtesy of Museo Frida Kalho)

Rea Irvin shared his own thoughts on the issue with this illustration below, which referenced the hateful rhetoric of Charles Coughlin, a Canadian-American Catholic priest and populist leader and one of the first public figures to make effective use of the airwaves to spew his invective.

FAMILIAR RING…**Charles Coughlin**, a Catholic priest and populist leader, promoted antisemitic and pro-fascist views while also acting as a champion to the poor and a foe of big business. In the midst of the Depression he spoke to the hopes and fears of lower-middle class Americans throughout the U.S. One supporter recalled: “When he spoke it was a thrill like Hitler. And the magnetism was uncanny. It was so intoxicating, there’s no use saying what he talked about…” (BBC/NPR)

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Dog Days

E.B. White also chimed in about boorish behavior he witnessed at the Westminster Kennel Club show at Madison Square Garden. Terriers had dominated Westminster; the fox terrier that ultimately won the 1934 competition represented the 21st terrier of any type to win Best of Show since that category was introduced in 1907.

YOU AGAIN? Ch Flornell Spicy Bit of Halleston, a Wire Fox Terrier, took Best of Show at Madison Square Garden in 1934. (westminsterkennelclub.org)

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Anybody Home?

After the wealthy owner of the New York World, Joseph Pulitzer, died in 1911, his family moved out of his lavish East 73rd Street mansion, which was designed by Stanford White to resemble an Italian palazzo. The building sat empty until 1930, when investors planned to knock it down and replace it with an apartment building. The Depression foiled their plans, and another attempt to raze the mansion in the 1950s also miraculously failed, and the building was eventually converted into a co-op with sixteen apartments. Writing in “The Talk of the Town,” James Thurber pondered the Pulitzer mansion’s expected fate. An excerpt:

THEN AND NOW…With so many buildings reduced to dust these days in NYC, it’s good to see the Pulitzer mansion still standing. You can buy one of its sixteen apartments for roughly $6 million, if and when they become available. (ephemeralnewyork.wordpress.com)

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From Our Advertisers

The makers of Camel cigarettes combined three previous ads into one, featuring endorsements from society matrons in Boston, Washington, D.C., and New York…

…while Fanny Brice and the cast of the 1934 Ziegfeld Follies offered a chorus of endorsements for Lux detergent in this two-page spread…

…the Graham-Paige Motors Corporation is long gone, but in the early 1930s the company was still going strong, introducing many innovations (described in the ad below) that would be copied by other carmakers…

…in the 1930s an exiled Russian noble, Count Alexis de Sakhnoffsky, was known for his streamlined automobile designs…he influenced the look of the 1934 Nash Ambassador Eight, which was touted here as the choice of the budget-minded toff…note how the illustrator exaggerated the car’s length in this ad…

…as compared to an actual model of a Nash Eight…

A restored 1934 Nash Ambassador Eight. (classiccars.com)

…on to our cartoonists, Alan Dunn floated above the “Goings On About Town” section…

…William Steig gave us a tactless grocer…

…Howard Baer offered up some finer points from Madison Avenue…

…Gardner Rea illustrated a very special delivery…

…and James Thurber’s war continued to be waged on a snowy battlefield…

…on to our March 3, 1934 issue…

…which featured a profile of singer Kate Smith (1907–1986), written by none other than Joseph Mitchell (1908-1996), who began his career at The New Yorker in 1933. Smith was an American contralto often referred to as “The First Lady of Radio,” well known for her renditions of When the Moon Comes over the Mountain and Dream a Little Dream of Me. She was enormously popular during World War II for her rendition of God Bless America among other patriotic tunes.

Smith got her start in New York in 1926 when she appeared on Broadway in Honeymoon Lane. That year also saw the emergence of countless humiliating wisecracks about her weight that would dog her long career. A reviewer in The New York Times (Oct. 31, 1926) wrote, “A 19-year-old girl, weighing in the immediate neighborhood of 200 pounds, is one of the discoveries of the season…” In 1930, when Smith appeared in George White’s Flying High, she served as the butt of Bert Lahr’s often cruel jokes about her size.

An excerpt from the opening lines of Mitchell’s profile:

RISING STAR…At left, **Kate Smith** performing in the 1932 Paramount Pictures musical, *Hello Everybody!*; at right, on the cover of the October 1934 issue of *Radio Mirror.* (medium.com)

Toward the conclusion of the profile Mitchell suggested that Smith’s future was “doubtful.” She would prove that prediction wrong, however…

…23 years after her death her rendition of God Bless America would be discontinued pretty much everywhere when it was revealed that in the early 1930s she recorded such songs as That’s Why Darkies Were Born and Pickaninny Heaven (which was featured in Hello, Everybody!).

CANCELLED STAR…Since the late 1960s a rendition of *God Bless America* by Kate Smith served as a good luck charm for the Philadelphia Flyers. “The team began to win on nights the song was played,” the *New York Times* wrote in Smith’s 1986 obituary. Smith sang the tune live during game six of the 1974 Stanley Cup finals, which the Flyers went on to win against the Boston Bruins. When Smith’s racist songs were rediscovered in 2019, a statue of the singer that stood outside the Flyers’ arena was covered and ultimately removed. (Daily Mail)

A note on Joseph Mitchell, whose first credited piece in The New Yorker was a Nov. 11, 1933 “A Reporter at Large” column titled “They Got Married in Elkton.” The article described a small Maryland border town that became known for discrete “quicky” marriages. Mitchell would become known for his finely crafted character studies and expressive stories found in commonplace settings. His 1943 McSorley’s Wonderful Saloon is a prime example.

MAN ABOUT TOWN…At left, **Joseph Mitchell** circa 1930, wearing a brown fedora he was rarely seen without; at right, Mitchell in Lower Manhattan near the old Fulton Fish Market, as photographed by his wife, **Therese Mitchell**, circa 1950. (Estate of Joseph Mitchell)

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Acquired Taste

Occasionally New Yorker film critic John Mosher found himself at odds with other reviewers, and such was the case when Mosher sat down to watch Frank Capra’s It Happened One Night. While he described the 1934 pre-Code romantic comedy as “nonsense” and “dreary,” other critics found it generally enjoyable, and although it took audiences awhile to catch on, the film eventually became a smash hit.

In all fairness to Mosher, even the film’s co-star, Claudette Colbert, complained to a friend after the film wrapped, “I just finished the worst picture in the world.” As it turned out, It Happened One Night became the first of only three films to win all five major Academy Awards: Best Picture, Best Director, Best Actor, Best Actress, and Best Adapted Screenplay. It is now widely considered one of the best films ever made. Go figure.

Back to Mosher, who thought so little of the film he didn’t even lead his column with the picture’s review:

PRE-CODE AND TOPLESS…An heiress (**Claudette Colbert**) and a reporter (**Clark Gable**) find themselves hitchhiking (and sharing a motel room) after their bus breaks down in *It Happened One Night*. The film famously featured a scene in which co-star Gable undresses for bed and takes off his shirt to reveal that he is bare-chested. An urban legend claims that, as a result, sales of men’s undershirts declined noticeably. (IMDB)

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More From Our Advertisers

If you wanted luxury with the price, you could buy a Nash Ambassador Eight for $1,800 (about thousand less than other luxury models) or opt for Studebaker’s Berline Limousine, practically a steal at $1,295…

…or you could opt for this fancy-looking Buick with “Knee-Action wheels”…Knee Action was a GM marketing term for independent front suspension, which made for a smoother ride…

…always colorful, the makers of Cinzano vermouth made their splash in The New Yorker…

…the folks at Lucky Strike continued their theme of colorful ads featuring attractive women enjoying their cigs…

…on to our cartoonists, Leonard Dove illustrated a domestic spat…

…Mary Petty captured a romantic interlude on the dance floor…

…and James Thurber introduced a new twist—espionage—into his “war”…

Next Time: The Power Broker…

Genesis of Genius

It’s hard to believe in this day and age that a theoretical physicist could enjoy rock star status, but then Albert Einstein wasn’t your everyday theoretical physicist.

Dec. 2, 1933 cover by **Helen Hokinson.**

A two-part profile of Einstein (1879–1955) by Alva Johnston (with terrific caricature by Al Frueh) examined the life and “idol” status of a man who would define the idea of genius in the 20th century. Although Einstein desired to live an almost reclusive existence at Princeton University, Johnston noted that he had become “fairly reconciled to the occupation of popular idol.”

Einstein was at Princeton thanks to the rise of Adolf Hitler, who came to power in Germany in early 1933 while Einstein was visiting the United States. Returning to Europe that March, Einstein knew he could not return to his home country (indeed, the Gestapo had raided his Berlin apartment and eventually seized all of his property), so when Einstein landed in Antwerp, Belgium on March 28, 1933, he immediately went to the German consulate and surrendered his passport, formally renouncing his German citizenship.

I’M OUTTA HERE…**Albert Einstein** with a Zionist delegation from France, Belgium, and England upon leaving the SS *Belgenland* in Antwerp, Belgium, 1933. (United States Holocaust Memorial Museum)

After some time in Europe and Great Britain, in October 1933 Einstein accepted an offer made earlier by from the Institute for Advanced Study in Princeton, New Jersey to serve as a resident scholar. When he arrived with his wife, Elsa, he said he would seclude himself at the Institute and focus on his teaching and research.

EINSTEIN WASN’T FIDDLIN’ AROUND when he played his cherished violin—he once said that if he hadn’t been a scientist, he would have been a musician. This photo was taken at Einstein’s Princeton home in November 1933—he and fellow members of a string quartet were practicing for a December concert at the Waldorf-Astoria to raise money for German-Jewish refugees. From left to right, sitting: **Arthur (Ossip) Giskin, Toscha Seidel, Albert Einstein**, and **Bernard Ocko**; standing: **Estelle Manheim** (Seidel’s wife), **Elsa Einstein** and unidentified man. (Leo Baeck Institute)

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Stop and Go

E.B. White devoted his “Notes and Comment” to Manhattan’s traffic situation, which he found manageable as long as tourists stayed out of the way…

White also noted the perils of Park Avenue, especially the taxi drivers (distracted by those newfangled radios) darting between the islands…

Park Avenue in the 1930s. (geographicguide.com)

…and then there was Fifth Avenue, notorious for traffic jams, made worse on weekends by the tourist traffic…

Fifth Avenue in 1932. (New York State Archives)

…later in “The Talk of the Town” White continued his thoughts on New York taxis, namely the introduction of coin-operated radios installed for use by passengers…

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Fly Newark

Albert L. Furth took us off the mean streets and into the air when he filed this account about the Newark Metropolitan Airport for “A Reporter at Large.” Furth seemed put off by the cachet of European airports and their many amenities, given that the Newark airport—although admittedly utilitarian—was the busiest in the world. An excerpt:

FREQUENT FLIER…**Albert Furth** noted that Newark Municipal Airport logged a landing or departure every thirteen-and-a-half minutes. Above, passengers boarding a Boston-bound American Airlines Condor at Newark Airport in 1930. In those simpler times, passengers just walked to the runway and climbed on board. The airport had opened two years earlier on 68 acres of reclaimed swampland along the Passaic River. It was the first major commercial airport in the New York metro area and the first anywhere with a paved runway. (njmonthly.com)

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Goodnight, Speakeasy

Lois Long was an 17-year-old Vassar student when Prohibition went into effect in 1919, so when she started her career in New York in 1922 the only nightlife she knew revolved around speakeasies. Although she held Prohibition officers in disdain, she also believed that the repeal of the 18th Amendment would lower the quality of New York nightlife—the food, the “adroit service,” and the “genial din” of the speakeasy. Excerpts:

FROM LOUCHE TO LEGAL…**Lois Long** was saying a sad goodbye to her beloved speakeasies; perhaps the Algonquin Hotel (here, circa 1930) would offer some cheer. (Pinterest)

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From Our Advertisers

Abercrombie & Fitch (then an outfitter for the elite outdoorsman) was offering holiday shoppers everything from multi-tool knives to cocktail shakers…

…while the folks at Clerevu telescopes found a growing market for folks who used their product for anything but stargazing…

…with Repeal just days away, the Pleasant Valley Wine Company of New York hoped folks would pop a few of their corks before the good stuff arrived from France…

…the British were coming to the rescue via the Berry Brothers, who were overseeing the importation of liquor from their offices at Rockefeller Center’s British Empire Building…

…let’s look at an assortment of one-column ads…the center strip features an ad promoting Angna Enters’ appearance for “one evening only” at The Town Hall (123 West 43rd Street)…Enters (1897–1989) was an American dancer, mime, painter and writer who likely performed her piece Moyen Age…

FEEL THAT STRETCH…**Angna Enters** performing *Moyen Age*, circa early 1930s. (NYPL)

…we begin our cartoons with Gardner Rea, and a dedicated bell ringer…

…Otto Soglow showed us a softer side of The Little King…

…Peter Arno revealed the human side of the posh set…

…and we close the Dec. 2 issue with this classic from James Thurber…

…on to Dec. 9, 1933, and a cover by an artist we haven’t seen in awhile, Ilonka Karasz…

…and we open with this comment by E.B. White, who along with critic Lewis Mumford had once voiced displeasure over the massive Rockefeller Center project. However, while viewing the floodlit tower by night, he decided that he would have to eat his words, observing how “the whole thing swims up tremendously into the blue roxyspheres of the sky”…

MEA CULPA…**E.B. White** gained a new perspective on Rockefeller Center, pictured here in December 1933. (Wikipedia)

…we continue with White, who also offered his thoughts on something heretofore unthinkable—a proposal to start putting beer in cans…

…it would happen about a year later…on Jan. 24, 1935, the Gottfried Krueger Brewing Company, in partnership with the American Can Company, delivered 2,000 cans of Krueger’s Finest Beer and Krueger’s Cream Ale to drinkers in Richmond, Virginia…

…and despite White’s doubts, apparently ninety-one percent of the first drinkers of the product approved of the canned beer, although when Krueger’s launched their ad blitz they had to include instructions (and a new tool) to open the darn things…

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Dreamscapes

Critic Lewis Mumford offered his thoughts on a recent exhibit by a young surrealist named Salvador Dali…

MIDDLEBROW SURREALIST…*The Triangular Hour* by Salvador Dali, 1933. (wikiart.org)

…and we move along to moving pictures, where John Mosher was showing some appreciation for Joan Crawford (1906–1977) in the pre-Code film Dancing Lady…

SHE HAD IT ALL…Audiences and critics alike were wowed by Joan Crawford’s performance in *Dancing Lady*, which featured a star-studded and eclectic cast. Clockwise from top left, **Clark Gable** plays a Broadway director who becomes Crawford’s love interest; Crawford displays her dancing talent in a Broadway rehearsal; *Dancing Lady* featured an early film appearance by **The Three Stooges**, pictured here with Gable and the Stooges’ leader at the time, **Ted Healy**; Crawford with Stooge **Larry Fine**—in the original film, Fine completes his jigsaw puzzle only to discover (to his disgust) that it’s a picture of **Adolf Hitler.** The Hitler scene was removed by the Production Code; its enforcers claimed it insulted a foreign head of state. (IMDB)

In addition to Crawford, the star-studded cast included Clark Gable, Fred Astaire (in his film debut), Franchot Tone (who was married to Crawford from 1935-39 and made seven movies with her), The Three Stooges, Nelson Eddy, and Robert Benchley, who played a reporter in the film.

Dancing Lady was the film debut of Astaire, making Crawford the first on-screen dance partner of the famed hoofer…

* * *

More From Our Advertisers

We begin with this full-page advertisement from Heinz, which went to great lengths and expense to make their ad appear to part of the New Yorker’s editorial content, even featuring a Perry Barlow cartoon of a boy making a mess with their product…

…another New Yorker contributor who occasionally went over to the advertising side was Alexander Woollcott, here shilling for Chrysler…

…Kayser, purveyor of women’s hosiery and underthings, was going for some humorous holiday cheer, but the effect is a bit unsettling…

…liquor-related ads began to proliferate with the end of the Prohibition…this one from Martini & Rossi…

…Continental Distilling was hoping to grab its share of gin sales with its Dixie Belle American gin…

…from the same folks who brought us Fleishmann’s yeast (and kept The New Yorker afloat in its early lean years) came this American dry gin…

…Ruppert’s Beer was back with another full-page color ad by Hans Flato…

…on to our cartoons, and Santa again, this time besieged by an aggressive tot as rendered by Helen Hokinson…

…Carl Rose found an unlikely customer at a newsstand…

…here is the last of four cartoons Walter Schmidt published in the New Yorker between 1931 and 1933…

…Peter Arno left his glamorous world of nightclubs and high society parties to look in on life at a boarding house…

…and we close with the delightful Barbara Shermund…

Next Time: Going With the Flow…

The Radio City

The NBC Studios at 30 Rockefeller Plaza have wowed visitors and performers alike for nearly 90 years. Today we look back at the remarkable foresight of the studios’ designers, who created spaces that would one day accommodate a new medium called television, which was still in its experimental stages.

Nov. 4, 1933 cover by **Robert Day**, who contributed a total of eight covers to *The New Yorker.*

However, before we jump in, let’s look at Robert Day’s cover for the Nov. 4 issue, which featured a familiar character who made his first appearance on the cover of issue #12 (May 9, 1925), and returned four years later looking much older in the dog days of August…

Cover of issue #12 (May 9, 1925) by **Rea Irvin** introduced our street sweeper, who returned Aug. 3, 1929 by the hand of **Gardner Rea.**

Day’s cover, however, was also a nod to the annual gathering of autumn leaves—an occasional cover theme that began with Peter Arno’s contribution to the Nov. 27, 1926 issue (below, left) and most recently expressed in Adrian Tomine’s cover for the Nov. 7, 2022 issue (with timely pandemic reference)…

Back to Radio City, Morris Markey recounted the technological wonders of the new NBC studios in his “A Reporter at Large” column, “Marconi Started It.” Markey noted the “fabulous quality” of the facilities, wired for the day when television would arrive. Excerpts:

GEE WHIZ…**Morris Markey** could be assured that some folks would be “goggled-eyed” by NBC studios, including the technophiles at *Popular Mechanics.* (westmb.org)

WHERE HISTORY WAS MADE…Studio 8H was the world’s largest radio studio when it opened in 1933. It would be converted for television in 1950. (westmb.org)

Markey marveled at NBC Studios’ various design innovations, including a revolving control room dubbed the “Clover Leaf”…

Almost 90 years later, the studios continue to serve the broadcast needs of the 21st century, including Studio 8H…

LIVE FROM NEW YORK…Studio 8H was the world’s largest radio studio when it opened in 1933. Converted to television in 1950, it has been home to *Saturday Night Live* since 1975. Above, SNL stage manager **Gena Rositano,** in 2015. Below, longtime SNL director **Don Roy King** at the controls for Studio 8H, also in 2015. (Dana Edelson/NBC via Directors Guild of America)

* * *

Leopold!

Conductor Leopold Stokowski was no stranger to Studio 8H. From 1941 to 1944 he led the NBC Symphony Orchestra in that venue. One of the leading conductors of the early and mid-20th century, Stokowski (1882–1977) began his musical career in New York City in 1905 as the organist and choir director at St. Bartholomew’s Church, but by 1915 he was conducting the famed Philadelphia Orchestra. Robert Simon reported on Stokowski’s return to New York for a performance at Carnegie Hall. A brief excerpt:

Stokowski had the distinct honor of being satirized in a 1949 Looney Tunes cartoon, “Long-Haired Hare,” in which Bugs Bunny disguised himself as the conductor and entered the stage to the astonished whispers of the orchestra…Leopold! Leopold!…

MAESTRO…Bugs Bunny as Stokowski in “Long-Haired Hare.”

Stokowski was no stranger to animation. The conductor appeared in silhouette in Disney’s Fantasia (1940), leading the Philadelphia Orchestra in the film’s score. He even shook hands with Mickey Mouse.

* * *

Bigga Badda Wolfa

The New Yorker took a look at the popular records of the day, and in addition to tunes by Bing Crosby and Rudy Vallée there was yet another release of “Who’s Afraid of the Big Bad Wolf?”…Ethel Shutta was the latest of seemingly dozens of artists to cash in on the Disney hit…

I’LL HUFF AND I’LL PUFF…Those who couldn’t get enough of “Who’s Afraid of the Big Bad Wolf” could turn to Ethel Shutta’s rendition of the hit song on Columbia records. (discogs.com)

* * *

Page-Turner

Writer Kay Boyle wasn’t afraid of wolves or any other subject for that matter, according to book reviewer Clifton Fadiman…

TOSSING A SALACIOUS SALAD…**Kay Boyle,** photographed by George Platt Lynes, 1941. (The Kay Boyle Papers, Morris Library, Southern Illinois University)

* * *

A Grapeful Nation

As New Yorkers counted the days until the end of Prohibition, The New Yorker did its part to get readers back up to speed by enlisting the talents of one of the world’s great wine experts, Frank Schoonmaker, who had the enviable job of filing a series of wine reports for the magazine. His first installment of “News From the Wine Country” featured the Champagne region. Excerpts:

THAT FIZZY FEELING…Bottling the good stuff in the Champagne region, circa 1930. (wineterroirs.com)

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Christmas was just around the corner, and F.A.O. Schwarz was READY with its 64-page catalog…

…White Rock anticipated the end of Prohibition with an ad featuring a miniature colonel who apparently needed a stiff drink to prepare for his wife’s return from abroad…

…Mrs. Hamilton Fish Jr, aka Grace Chapin, was married to the New York congressman from 1920 until her death in 1960, apparently enjoying many Camels along the way…her husband would go on living another 31 years and take three more brides before expiring at age 102…

…another cautionary tale from Chase & Sanborne about the perils of undated coffee…

…and with the holidays approaching, a jolly ditty from Jones Dairy Farm, home to little piggies who merrily dash toward their inevitable slaughter…

…and we jump to another back-page ad, this from the stately Plaza, where you could get a single room for five bucks a night…

…turning to the cartoons, we find George Price hitting his stride with multiple cartoons in consecutive issues…

…and taking a look at the recent elections…

…on to James Thurber, and continuing struggles on the domestic front…

…and that brings us to our next issue…

Nov. 11, 1933 cover by **Constantin Alajalov.**

…in which E.B. White had a thing or two to say about the latest edition of the National Horse Show at Madison Square Garden.

HORSE SENSE AND SENSIBILITY…The National Horse Show at Madison Square Garden was a major event on New York’s social calendar; top and bottom right, scenes from the 1936 show; bottom left, undated scene circa 1960. (Stills from YouTube)

* * *

Versatile Verse

Phyllis McGinley (1905–1978) was the author of children’s books and poetry, the latter genre most notably for The New Yorker. However, she attracted a wide audience for her light verse in other publications ranging from Ladies Home Journal to The Saturday Review.

LIGHT TOUCH…**Phyllis McGinley** in an undated photo. She received the Pulitzer Prize in 1961 for her book *Times Three—*the first writer of light verse to receive the prize. (wnyc.org)

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Oil and Water

Art and architecture critic Lewis Mumford found two very different visions of America in the works of contemporaries John Marin and Edward Hopper. Marin’s watercolors were featured at An American Place, while Hopper’s oil paintings and etchings were shown down the street at the Museum of Modern Art.

SIDE BY SIDE…**Lewis Mumford** found different visions of New York and the world at An American Place and MoMA galleries. At left, **John Marin’s** watercolor *From the Bridge, N.Y.C.* (1933); at right, **Edward Hopper’s** *Room in New York,* also from 1933. (Artists Rights Society/Sheldon Memorial Art Gallery)

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More From Our Advertisers

Okay, so I’ll buy the part about PBR’s ability to soothe “jaded nerves,” but I doubt it gave this guy “fresh energy” and “a sound, healthy body”…

…After thirteen long years, winemakers emerged from their cellars to glimpse the light of a new day…

…and yes, after thirteen long years, some folks would be yearning for their DRY SACK Sherry…

…the name Elizabeth Hawes was synonymous with high fashion in the late 1920s and 1930s—she owned one of the most exclusive couture houses in New York…

…an outspoken advocate of dress reform, Hawes (1903–1971) was referred to by one historian as “the Dorothy Parker of fashion criticism.” After attacking the fashion industry with her 1938 book, Fashion Is Spinach (Hawes wrote: “I don’t know when the word fashion came into being, but it was an evil day…”), she closed her fashion house and in 1942 took a job as a machine operator at a wartime plant in New Jersey. She became a union organizer, a champion of gender equality, and a critic of American consumerism.

IN A LEAGUE OF HER OWN…**Elizabeth Hawes** — writer, fashion designer and political activist, poses for a photograph in 1941. (Mary Morris Lawrence)

…speaking of consumerism, ooooh look! A radio “you can slip in your pocket,” depending of course on the size of your pocket…

…transistors would not come along until the late 1950s, so the Kadette still depended on tubes, and you had to plug it in somewhere, so no running down the beach with headphones, at least for awhile…

…it must have been a rare treat to sail on a ship like the SS Santa Rosa—situated between the ship’s two funnels, the dining room had an atrium stretching up two-and-a-half decks and featured a retractable roof…

…on to more cartoons, and more George Price…

…moving along, we received some big news from one of Helen Hokinson’s “girls”…

…an aside I’ve been meaning to include…in 1952, just three years after Helen Hokinson’s untimely death, a cartoonist for The Cincinnati Enquirer, Franklin Folger, debuted a cartoon called “The Girls.” The cartoon was eventually syndicated and appeared in more than 150 newspapers worldwide before Folger retired it in 1977. Perhaps I am missing something, but I cannot find a single reference to Folger’s obvious appropriation of Hokinson’s “girls”…some examples of Folger’s work from the early 1960s and another from H.H. for comparison:

…and onward to Peter Arno, and the trials of portrait artists…

…and we close with two by Barbara Shermund…

…rendered in different styles…

Next Time: Coach Arno…

Deskey’s Deco

Above, Donald Deskey's Design for a Sportshack, 1940 (Cooper Hewitt)

If you’ve never heard of Donald Deskey, you’ve most likely seen his work.

Cultural critic Gilbert Seldes featured Deskey in the Feb. 25 profile (“The Long Road to Roxy” — with illustration by Al Frueh), noting that his subject had come to his profession as an industrial designer in a rather roundabout fashion. Here is a brief excerpt:

Deskey (1894 – 1989) was locally known in the late 1920s for his window displays at New York’s Franklin Simon Department Store, but it was his work at Roxy Rothafel’s new Radio City Music Hall that made him a marquee name in the design world. Although known for popularizing the Art Deco style, his interior designs for RCMH were noted for their restraint, signaling a break from the lavish, ornate designs of the city’s earlier performance spaces.

FEAST FOR THE EYES…**Donald Deskey** designed more than thirty spaces in Radio City Music Hall, including the Grand Foyer (left) and several lounges, each featuring a distinct visual motif. At bottom right, auditorium’s “Singing Woman” carpeting. (archdaily.com/drivingfordeco.com)

Original Deskey creations are highly prized today by collectors and museums…

DESIGN IN MOTION…Clockwise, from top left, Deskey’s “Guest Bedroom for Mrs. John D. Rockefeller, Jr.” (**Abby Aldrich Rockefeller**), on display at the 1931 American Union of Decorative Artists exhibition; Deskey table lamp, circa 1927; linen panel, circa 1930s; Deskey desk, circa 1930. (brooklynmuseum.org/artic.edu/Pinterest)

…and if that wasn’t enough, Deskey also designed logos for many consumer products in the late 1940s and 1950s…

THE TOTAL PACKAGE…Deskey designed some of the most iconic logos of midcentury America, including, clockwise from top left, Tide laundry detergent (1947); Gleem (1956) and Crest (1955) toothpastes; Cheer laundry detergent (1952); JIF peanut butter (1956) and Joy dishwashing liquid (1950).

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From Our Advertisers

It seems appropriate to follow Mr. Deskey with some words and images from our sponsors, including the folks at Cadillac who continued to hammer home the snob appeal of their motorcar while also giving a nod to those hard times by emphasizing the car’s economy…

…meanwhile, Studebaker was back with another full page ad — again featuring the admiring giant woman — in a vain attempt to push their fledgling, and unpopular line of Rockne automobiles…

…and Helena Rubenstein continued her series of ads disguised as advice columns…the advice here was to shame women into buying her products…

…after Helena removed your wrinkles you could restore them with GE’s Mazda sunlight lamp…

…Otto Soglow, on the brink of becoming a very wealthy man thanks to his Little King cartoons, continued to lay down some ink on behalf of the makers of Sanka decaf…

…and we move along to Soglow’s fellow cartoonists, beginning with Gardner Rea and a cartoon sequence spread across pages 24-25…

…here it is again, rearranged for closer inspection…

…and we have another terrific “Fellow Citizens” drawing by Gluyas Williams, which originally ran sideways on a full page…

…I like this James Thurber drawing for its utter disregard of scale — but of course (and thankfully) it wouldn’t be a Thurber if he cared about such things…

…William Crawford Galbraith was still hung up on showgirls and sirens…

…while Peter Arno explored his spiritual side, as only Arno could…

…and we move along to March 4, 1933…

…in which The New Yorker’s Paris correspondent Janet Flanner (“Genêt”) wrote about a new book of “extreme interest to both sides of the Atlantic”…

BOOK OF REVELATION…**Alice B. Toklas** and Gertrude Stein were well known in the ex-pat community of 1920s Paris, but the publication of the American edition of The Autobiography of Alice B. Toklas (written by Stein) brought them fame in the wider world. Stein claimed she wrote the book — now considered a 20th century classic — in six weeks to amuse herself and to make money. At right, Toklas and Stein at 27 Rue de Fleurus in a portrait by **Man Ray**, 1922. (Library of Congress)

* * *

Hope Springs Eternal

Even in the deepest depths of the Depression signs of hope abounded in works of public art, including a mosaic of one million hand-cut and hand-set glass tiles being prepared for the Sixth Avenue entrance to Rockefeller Center. Intelligence Awakening Mankind, by Barry Faulkner, celebrated the triumph of knowledge over the evil of ignorance. “The Talk of the Town” explained:

GOOD VIBES…Details of *Intelligence Awakening Mankind* include the central figure of Intelligence (top) sending knowledge into the far corners of the world. (Pinterest)

* * *

From Our Advertisers

The folks at luxury brand Packard continued to counter their stodgy image with ads that emphasized other qualities including speed, durability, and here, serenity…despite the lengthy text, the ad also suggested modernity, with the sliced-off image and the single word “Hush!” to entice prospective buyers…

…if you couldn’t afford $3,720 for a 12-cylinder Packard, then you might have considered a Buick, “livable as a fine home” this ad claimed. And look at that back seat — you could comfortably fit three adults and a baby elephant in there…

…and then there’s Hupmobile — for the price of a Packard 12 you could have purchased three Hupmobile Victorias (pictured below) with a good chunk of change left over…here the company celebrates its silver anniversary…a couple of odd facts: in 1914 a Minnesota Hupmobile salesman used an unsold vehicle to found Greyhound bus lines…the National Football League also traces its origins to Hupmobile — the league was created in 1920 at a Hupmobile dealership in Canton, Ohio…both Greyhound and the NFL survive Hupmobile, which went belly up in 1939…

…and now we move to the world of fashion, and some cultural appropriation by Lord & Taylor…

…in 1929 J. Walter Thompson President Stanley Resor observed how people instinctively wanted to be told what to do by authorities they respected. Applying this thinking to the marketing of Pond’s cold cream, Resor’s firm hired famed photographers to create idealized portraits of society women…

…Writing for Indy Week (July 7, 2010) Amy White observes that a 1933 portrait (above) of Mrs. Reginald Vanderbilt, aka Gloria Mercedes Morgan, reveals patrician eyes as “languid jet pools, her lips full and dark, her finely coiffed hair oiled to ebony perfection. However, a bit of backstory might explain the painful and hollow look Mrs. Vanderbilt can barely suppress. In that same year, she was declared by the courts to be unfit as a parent, and her young daughter was placed under the guardianship of her sister, Gertrude.” That young daughter, Gloria Vanderbilt, would later find fame for her designer jeans, her glittering lifestyle, and as mother of newscaster Anderson Cooper. White concludes, “I wonder if somehow, subconsciously, those consumers saw the pain in the eyes of some of those upper-crust spokeswomen, and it was basic humanness and empathy, as well as desire for wealth and beauty, that won them over”…

Mrs. Reginald Vanderbilt, aka **Gloria Mercedes Morgan**, and her daughter, “Little Gloria,” in 1928. (Wikipedia)

…and we move along to the toasted pleasures of Luckies, and Howard Chandler Christy’s “Christy Girl” looking the picture of health and vitality in this back cover ad…

…we make an abrupt switch to the cheaper ads in the magazine’s nether pages…here “Miss Eleanor, formerly with Mme. Binner,” announced her selection of modern corsets for the “debutante and young matron”…and below, in a sign of the times, repossessed homes for sale…

…looks like Fifi had a bit too much of the Green Ribbon-flavored bootleg…

…and if you thought taking probiotics was a new thing…

…the French Line once again featured the art of James Thurber to promote its Mediterranean cruises…

…and Thurber kicks off our cartoons with spot art that headed the “Goings On About Town” section…

…and this gem with one of Thurber’s beloved dogs…

…below is the second New Yorker cartoon by Gruff with the “Buy American” slogan juxtaposed with an ethnic stereotype…I have no idea who this artist is, or if “Gruff” is a pen name — the style looks familiar but I haven’t had any luck chasing this artist down…

…here is the first one from the Feb. 18 issue…

…but we all know Al Frueh, who contributed this delightful bit of art to the theater review section…

…Daniel ‘Alain’ Brustlein gave us an enterprising Frenchman offering peeks at exiled New York Mayor Jimmy Walker sunning on a beach at Cannes…

…and we close with Peter Arno, and the first signs of spring…

Next Time: Beauty and the Beast…

Life With Father

If you’ve ever come across the byline B.H. Arkwright, you were most likely reading the work of Clarence Day Jr., who in February 1931 began writing for the New Yorker under that pseudonym and also under his given moniker, which in four short years would become a household name.

Jan. 21, 1933 cover by **Theodore Haupt.**

In the Jan. 21, 1933 issue Day would publish his first humorous story in the New Yorker about upper-middle-class family life in the 1890s. A subsequent collection of these stories would be published in 1935 under the title Life with Father. Sadly, Day would die shortly thereafter and wouldn’t witness the enormous cultural impact his stories would have on mid-century America.

Here is an excerpt of Day’s first story about his father, describing an exchange between his parents that would set the tone for the series:

Life with Father was a hit with readers, inspiring a 1939 Broadway production by Howard Lindsay and Russel Crouse that would run for 3,224 performances over 401 weeks — it was, and still is, the longest-running non-musical play on Broadway. The play would be adapted into a 1947 film featuring Irene Dunne and William Powell in the leading roles. The stories even made it to the small screen in a CBS TV series that ran from 1953 to 1955.

ALL IN THE FAMILY…Clockwise, from top left, **Clarence Day, Jr.** (1874-1935) in undated photo; **Dorothy Stickney** and Howard Lindsay in the Broadway production of *Life with Father,* 1939; Day’s father and inspiration, stockbroker **Clarence Day, Sr**. (1844-1927); scene from the 1947 feature film *Life with Father* with **Irene Dunne, William Powell,** and a 14-year-old **Elizabeth Taylor.** (britannica.com/theguardian.com/IMDB)

Day was also a cartoonist, contributing satirical cartoons for U.S. suffrage publications in the 1910s and also publishing collections of humorous essays including a Darwinian satire on the origins of human nature, This Simian World (1920), and the rambling, whimsical The Crow’s Nest (1921). Both featured Day’s simplistic cartoons and anthropomorphic tales that anticipated the work of James Thurber later in the decade.

CATTAIL…Self-portrait of **Clarence Day** rendered as a cat in a selection from *The Crow’s Nest* (1921). The entire book is available as a free e-book from The Project Gutenberg.

As we know, New Yorker founding editor Harold Ross was a man of contradictions, at once profane and puritanical, the latter on display when it came to one of Day’s cartoon submissions for the magazine. According to Brendan Gill’s memoir Here at The New Yorker, Ross balked at publishing the drawing below because it showed an exposed breast. Either Day or an editor simply removed the nipple (note the broken line in the nipple’s place) and the cartoon was published.

* * *

Big Man’s Big Man

August Gennerich not only served as President Franklin D. Roosevelt’s bodyguard, he was also a close family friend. “The Talk of the Town” featured a lengthy account of the man, an excerpt of which is below:

ON GUARD…**Augustus “Gus” Gennerich** (1887-1936) was a friend of **Franklin and Eleanor Roosevelt’s** as well as one of FDR’s most trusted guards. He began his career in 1909 as a NYC policeman and in 1929 was assigned to be then-Governor Roosevelt’s bodyguard in the city. The Roosevelts were heartbroken when Gus died unexpectedly at age 50 from a heart attack. (picryl.com)

* * *

Desert Solitude

In 1933 Georgia O’Keeffe (1887–1986) was well into her Southwestern phase when her husband Alfred Stieglitz staged a show of her work at his last New York gallery, An American Place. O’Keeffe and Stieglitz lived together in New York until 1929, when O’Keeffe began spending more time in the Southwest — most likely to put some distance between herself and Stieglitz, who was in a long-term affair with photographer and writer Dorothy Norman. After this show opened O’Keeffe would suffer a nervous breakdown (per the above) and not return to painting until 1934. Lewis Mumford visited An American Place and had this to say about O’Keeffe’s work:

ANOTHER AMERICAN PLACE…New Mexican Landscape by **Georgia O’Keeffe,** 1930. (springfieldmuseums.org)

* * *

The Bookish Type

Modernist American poet and writer Archibald MacLeish (1892–1982) was a man of letters to the letter, serving as the ninth Librarian of Congress (1939-44) and during which time initiating the process of naming U.S. poet laureates. Here he contributes some of his verse to the New Yorker:

DESK JOB…**Archibald MacLeish**, circa late 1930s. (Library of Congress)

It was no accident that MacLeish contributed to the New Yorker: in addition to being among the literary expatriates in Paris including Gertrude Steinand Ernest Hemingway, MacLeish and his wife, Ada Hitchcock, were part of the Riviera crowd hosted by Gerald and Sara Murphy, which included among other notables John O’Hara, Dorothy Parker, and Robert Benchley.

OVER THERE…**Gerald and Sara Murphy** hosting friends at a Riviera beach party, circa 1923. Gerald is the man standing in the striped shirt; Sara is at right with a parasol. I believe that is Benchley at the bottom right, but not positively sure. (Beinecke Library)

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From Our Advertisers

We begin with this ad from Helena Rubinstein that parodies Lois Long’s “Tables for Two” column (Long signed that column as “Lipstick”) and announced a new “Red Poppy” shade…

…on the other hand, the folks at Tangee borrowed from the old Temperance Movement song, The Lips that touch liquor, shall never touch mine, to promote a lipstick guaranteed to snag a sugar daddy like the one illustrated below (recalling Monopoly’s Uncle Pennybags)…

…more advertising weirdness comes our way from the staid Best & Company, its execs somehow persuaded by an ad man to go with this chef motif…

…Leg ‘O Mutton referred to a type of puffy sleeve introduced in 1830s France that had a revival in the late 1880s…

MMMMM, MUTTON…The Leg ‘O Mutton look, circa 1890s. (genealogylady.net)

…the National Auto Show moved on and the National Motor Boat and Engine Show took its place at the Grand Central Palace…

…I’m trying to imagine the guy at left stowing his top hat in an overhead bin…

…down on earth folks could enjoy some down-to-earth home cooking at Mary Elizabeth’s, or go some Italian at Caruso’s…

…and for reference…

Top left, Mary Elizabeth’s success on Fifth Avenue led to expansion into Boston; below, a 1921 menu at Mary Elizabeth’s in New York; at right, 1930s postcard advertising Caruso’s on 42nd Street. (restaurant-ingthroughhistory.com)

…of course you couldn’t legally drink at those places, so you had to go to a speakeasy or mix your cocktails at home…but this is just sad, ‘ol Buddy here flavoring his bootleg with some Green Ribbon…let’s hope the playboy’s guests aren’t blinded before the night is over…

…we all know the tricky ways of the tobacco companies, including this 3-page Q&A from the makers of Camels offering smokers and would-be smokers THE TRUTH and THE FACTS about the cigarettes folks smoke…turns out Camels are the best…it’s true…

…and now for a bit of fresh air before we turn to our cartoonists…

…beginning with Al Frueh and his impressions of a show at the Guild Theatre…

…Peter Arno contributed this two-pager across pages 12-13 in “The Talk of the Town” section…

…Helen Hokinson offered up some scandal among the “girls”…

…James Thurber gave us an awkward moment among the tender youth of the unclad world…

…Otto Soglow’s Little King rose to the occasion, as always…

…Daniel Alain’s artist tried his best to make some small talk while at work…

…and we close with E. Simms Campbell, and the yawning gulf between owners and workers…

Next Time: A Slice of Paradise…

Modernism Lite

Above: “The Fountain of Youth” mural by Ezra Winter in the Main Foyer of Radio City Music Hall. (Architectural Digest)

The opening of two new theaters at Rockefeller Center no doubt brightened a few souls at the start of 1933, but art and architecture critic Lewis Mumford wasn’t particularly dazzled by the “watered-down” modernism of the buildings’ much-ballyhooed decor.

Jan. 7, 1933 cover by Rea Irvin, in a nod to the annual automobile show in New York City.

Oddly, it was a philosophy professor from Nebraska, Hartley Burr Alexander, who was tasked with creating an artistic vision for Rockefeller Center, developed along the theme of “Frontiers of Time.” According to Mumford, Alexander’s “classic-banal” vision, executed under the “virtuous glare” of theatrical impresario Samuel L. “Roxy” Rothafel, resulted in the first “large-scale vulgar tryout of modern art.” Excerpts from Mumford’s column:

Several aluminum sculptures in Radio City Music Hall no doubt pleased Mumford — Gwen Lux’s Eve sculpture, William Zorach’s Spirit of the Dance, and Robert Laurent’s Goose Girl. However, thanks to Roxy Rothafel’s “virtuous glare” and worries that the nudes might hurt ticket sales, all three sculptures were temporarily banned from RCMH.

NAKED AND AFRAID…A flare-up of puritanism led to the temporary removal of aluminum sculptures at Radio City Music Hall. At left, *Eve* by **Gwen Lux**; **Robert Laurent** (right) working on *Goose Girl* in his studio. Below, **William Zorach’s** *Spirit of the Dance.* (Smithsonian/viewingnyc.com)

Radio City Music Hall also featured an array of murals that should have brought some delight to Mumford…

SHOW BEFORE THE SHOW…Radio City Music Hall featured a number of murals including, clockwise from top left, a detail of **Donald Deskey’s** *The History of Nicotine* (The Life of Saint Nicotine) in a second floor men’s lounge; a textile piece titled The History of Theatre by **Ruth Reeves**, which covers the back wall of Radio City Music Hall; **Stuart Davis’s** mural Men without Women in the men’s lounge; **Yasuo Kuniyoshi’s** mural in the women’s powder room. (melwithpals.medium.com/viewingnyc.com/evergreen.com)

* * *

Mea Cuppa

“The Talk of the Town” shared this account of fifteen Harvard freshman who dared to pay a call on the home of visiting poet T.S. Eliot…

TEA-DIUM…Fifteen nervous Harvard freshman confronted this visage until one of them finally broke the ice. Photo above taken during one of **T.S. Eliot’s** visits to Monk’s House, the 16th century cottage of **Virginia Woolf**. (blogs.harvard.edu)

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Country Cousins

During his 1932 presidential campaign Franklin D. Roosevelt paid a Sept. 29 visit to the Waterloo, Nebraska farm of Gustav “Gus” and Mary (Kenneway) Sumnick. Mary served FDR a chicken dinner and pie before he addressed a crowd of 8,000 at a rally on the Sumnick farm. Gustav, a German immigrant, and Mary, a daughter of Irish immigrants, were successful farmers even during those tough years. The visit would turn the Sumnicks into national celebrities, and in later years FDR would return to visit the family and would also stay in touch by telephone. Howard Brubaker, in “Of All Things,” made this observation about the celebrated farm family:

TIME FOR SOME VIDDLES!…**Mary Sumnick** chats with presidential candidate Franklin D. Roosevelt during his Sept. 29, 1932 visit to the Sumnick farm. (douglascohistory.org)

ENOUGH FOR A FOOTBALL TEAM…A lengthy article in the Dec. 4, 1932 *New York Times* described life on the Sumnick farm and their upcoming visit with President Roosevelt in the spring. Gus and Mary and their 11 children all planned to make the trip. (NYT)

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The Gang’s All Here

Siblings Ethel, John and Lionel Barrymore of the famed Barrymore theatrical family appeared together in just one film — Rasputin and the Empress — and you would think that would have been enough to guarantee multiple awards along with box office gold. However, the film actually lost money, and on top of that attracted a lawsuit that further dipped into the pockets of MGM producer Irving Thalberg. Critic John Mosher was wowed by Ethel’s performance, but wasn’t exactly charmed by the overall production:

ACTING ROYALTY ACTING ROYAL…**John Barrymore, Ethel Barrymore**, and Lionel Barrymore with child actor **Tad Alexander** in *Rasputin and the Empress*. It is only film in which all three siblings appeared together. (Pinterest)

About that lawsuit: The film used the real-life Princess Irina Yusupov as a model for Princess Natasha, portrayed by English actress Diana Wynyard. The film implied that Rasputin raped Princess Natasha (that is, Irina), which wasn’t true, so she sued MGM and won $127,373 from an English court; MGM reportedly settled out of court in New York for the sum of $250,000 (roughly equivalent to nearly $5 million today). The ubiquitous “all persons fictitious” disclaimer that appears in TV and film credits is the result of that lawsuit.

NO HARD FEELINGS?…English actress **Diana Wynyard** (left) portrayed Princess Natasha in the Barrymore family vehicle *Rasputin and the Empress.* Her portrayal, however, drew the ire of a real Russian royal, **Princess Irina Yusupov,** who successfully sued MGM in 1933 for invasion of privacy and libel. (Wikipedia)

A much-less controversial film was the “glib” No Man of Her Own, a pre-Code romantic comedy-drama starring Clark Gable and Carole Lombard in their only film together:

LET’S PLAY HOUSE…**Clark Gable** romances **Carole Lombard** in the pre-Code romantic comedy-drama *No Man of Her Own*. It was their only film together, and several years before they became a married couple in real life. (ha.com)

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Vroom-Vroom

The annual National Automobile Show opened at the Grand Central Palace and other locations in Midtown, promising an array of affordable models:

DECISIONS, DECISIONS… The 1933 National Automobile Show offered a number of affordable options to car buyers including these shiny new Pontiacs on display at the Grand Central Palace. (libwww.freelibrary.org)

BUT LOOK OVER HERE…General Motors also displayed its models at the first “Motorama” held in the Waldorf-Astoria’s Grand Ballroom in 1933. (waldorfnewyorkcity.com)

Auto Show visitors also got a glimpse of their streamlined future in the form of a 1933 Pierce-Arrow Silver Arrow…

FAST & FURIOUS…Powered by a V12 engine, the aerodynamic 1933 Pierce-Arrow Silver Arrow could exceed 100 miles per hour. Unveiled at the 1933 National Automobile Show, the car grabbed the spotlight with its futuristic, streamlined design. Just five of these were built, and only three are known to exist today. The Silver Arrow was one of Pierce-Arrow’s final attempts to appeal to its wealthy clientele, but even they were feeling Depression’s pinch. The company folded in 1938. (Sotheby’s)

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From Our Advertisers

The New Yorker had unusually thin issues over the holidays, so the magazine’s bean-counters must have been thrilled by the dozens of ads that poured in ahead of the National Automobile Show. As usual Walter Chrysler took out several two-page ads to promote his Chryslers, Plymouths, Dodges and DeSotos…

…while GM one-upped Walter with its own series of two-pagers — in color — sprinkled throughout the magazine…everything from the affordable Oldsmobile…

…to the high-end Cadillac…

…General Motors also featured this Peter Arno-themed ad (with sugar-daddy walrus) to promote its posh new venue at the Waldorf-Astoria…

…the folks at struggling Hupmobile tried to wow not with shiny cars but rather with the announcement of their…drum roll, please…annual report…

…companies that supported the auto industry also got in on the act, including the makers of leaded fuel…this image says a lot about the lack of safety concerns in the 1930s…

…John Hanrahan, who early on served as the New Yorker’s policy council and guided it through its lean first years, became the publisher of Stage magazine (formerly The Theatre Guild Magazine) in 1932. In 1933 Stage became part of the Ultra-Class Magazine Group’s line-up that included Arts & Decoration and The Sportsman. Stage published its last issue in 1939, and I don’t believe the other two survived the 1930s either…

ULTRA-CLASS GROUP was the over-the-top name used to describe this line-up of magazines.

…on to our cartoons, we join Peter Arno for some fine dining…

…based on the what we have seen lately from William Crawford Galbraith, he seems to be hung up on seductresses and showgirls…

…to my point, some of Galbraith’s recent entries…

…we move on to Richard Decker and a dangerous cold front…

…Garrett Price pondered the wisdom of children…

…Gluyas Williams was back with the latest industrial crisis…

…Perry Barlow found some ill-fitting words to go with an ill-fitting coat…

…and we close with James Thurber, and some very fitting words for those times, and ours…

Next Time: March of Time…

Back in the USSR

The year 1932 was a tough one for many Americans, barely scraping by in the deepening Depression. But to the suffering millions in the Soviet Union, America’s economic woes looked like a walk in the park.

The year marked the beginning of a catastrophic famine that swept across the Soviet countryside, thanks to the government’s bone-headed and heartless forced collectivization that caused more than five million people to perish from hunger. Those events, however, were still on the horizon when Robin Kinkead, a New York Times Moscow correspondent, ventured out into Moscow’s frigid streets in search of a lightbulb. Here is his story:

WE HAVE PLENTY OF NOTHING FOR EVERYONE…In 1930s Moscow, and in the decades beyond, much of life consisted of standing in line for everything from bread to light bulbs.

MAGIC LANTERN…Russian peasants experience electricity for the first time in their village. (flashback.com)

STALIN CAST A LARGE SHADOW over his subjects, even when they sought a bit of light in the darkness. Stalin and Lenin profiles served as glowers in this Soviet lightbulb, circa 1935. The first series of these bulbs were presented to the delegates of Soviet parliament of 1935, just in case they forgot who was in charge — or who might liquidate them at any moment, for any reason, or for no reason. (englishrussia.com)

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One of Theirs

Miguel Covarrubias was one of the first artists to contribute to the fledgling New Yorker, and his linear style was well known to readers when he opened his latest show at New York’s Valentine Gallery. It featured works he had created during a 1931 sojourn in the East Indies. Critic Murdock Pemberton found the palette reminiscent of Covarrubias’ earlier work during the Harlem Renaissance:

GLOBETROTTER…A frequent contributor to the early *New Yorker*, **Miguel Covarrubias** traveled the world in search of inspiration. His 1932 exhibition at New York’s Valentine Gallery featured his latest work, a series of “Balinese paintings” including *In Preparation of a Balinese Ceremony*, at right. (sothebys.com)

MAN OF MANY TALENTS…An early Covarrubias contribution to the *New Yorker* in the March 7, 1925 issue.

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From Our Advertisers

Listerine had been around since the late 1860s, but it wasn’t marketed as a mouthwash until 1914. The brand really took off in the 1920s when it was heavily advertised as a solution for “chronic halitosis” (bad breath), so in 1930 its makers went one step further by adding a few drops of their product to one of the chief causes of bad breath. The folks at Listerine were also keen to the growing market of women smokers — note the fifth paragraph: “They seem to appeal especially to women”…

…when you run out of ideas to amuse your grandchild, drop your top hat and walking stick and let him take you for a swing on a GE fridge door…wow, admire its “all-steel sturdiness” as it slowly tips toward the unsuspecting lad…

…on to our cartoons, Rea Irvin showed readers what he thought of the latest “rosy” economic predictions…

…but with the economy still deep in the dumps, building continued to boom, per Robert Day…

…Perry Barlow gave us a fellow needing a break from the daily gloom…

…Richard Decker unveiled this crime-fighting duo…

…Alan Dunn tempered the flames of passion…

…and we close this issue with one of James Thurber’s most famous cartoons…

…on to Feb. 6, 1932…

Feb. 6, 1932 cover by **Constantin Alajalov.**

…and we head straight to our advertisers……and yet with another sad Prohibition-era ad, this from the makers of Red & Gold Vintages, who promised to dress up your bootleg rotgut with many fine flavorings…

…New Yorker founding editor Harold Ross couldn’t care less about the advertising department as long as it paid the bills and kept its nose out of editorial, but I wonder if a cig dropped from his puritanical (if profane) lips when he glanced at this ad…

…as noted in the Listerine ad above, tobacco companies were eager to tap the growing market of women smokers…actress Sue Carol egged on the sisterhood in this ad…Carol would have a brief acting career (including 1929’s Girls Gone Wild — not quite as racy as the 1990s DVD series) before becoming a successful talent agent…

…as noted in my previous “Dream Cars” post, women were also a fast growing market for automobiles, and manufacturers — desperate for Depression-era sales — scrambled to show women all of the swell gadgets that would make driving a snap (as if men didn’t need these gadgets too)…

…and here we have an ad from Kodak that demonstrated the ease of its home movie camera, which could go anywhere, say, like the horse races in Havana…

…Havana then was a playground for wealthier Americans, and many resided at a grand hotel operated by another rich American…

…but if you remained in town, you should at least know how to get tickets to the latest show (this drawing is signed “Russell”…could it be the noted illustrator Russell Patterson?)…

…on to our cartoons, Rea Irvin again commented on the latest predictions for economic recovery…

…but Alan Dunn found one woman who wanted an adventure, not a job…

…perhaps she should hang out with one of Barbara Shermund’s “New Women,” who had a flair for the dramatic…

…as for those seeking a new life, Mary Petty considered the costs…

…Richard Decker took us to the high seas, where a thirsty yachtsman hailed a passing smuggler…

…Otto Soglow probed the sorrows of youth…

…and William Crawford Galbraith, the joys…

…and James Thurber introduced his classic dog in a big way on this two-page spread…

…and on to one more issue, Feb. 13, 1932…

Feb. 13, 1932 cover by **S. Liam Dunne.**

…we begin with a nerd alert — the Feb. 13 cover represented one of the magazine’s biggest departures from the original Rea Irvin nameplate, here heavily embellished within S. Liam Dunne’s design. Departures in previous issues were more subtle, Irvin himself experimented with an elongated version in the third issue (below, left). For the April 17, 1926 issue, Katharine and Clayton Knight’s* stylish illustration (center) was the first to overlap part of the nameplate, and Sue Williams’ Nov. 17, 1928 cover (right) was the first to embellish the Irvin font.

*A note on **Katharine Sturges Knight** and **Clayton Knight**. The April 17, 1926 cover (center) was the only design by the Knights published by the *New Yorker.* The original picture was drawn on wood by Katharine and then cut by Clayton. Their son, **Hilary Knight,** is also an artist, best known as the illustrator of **Kay Thompson’s** *Eloise* book series.

…on to the advertisements, kicking off with this subtle appeal from the makers of the unfortunately named “Spud” menthol cigarettes…here a young woman experiences Spud’s “mouth-happiness” while attending the annual Beaux Arts Ball at the new Waldorf-Astoria…

…if you’re wondering why the Spud ad featured a guy in a powdered wig puffing on a cigarette, well the theme of the 1932 ball was “A Pageant of Old New York.” Every year had a different costume theme, and the ladies and gentlemen of the ruling classes delighted in dressing up for the occasion…

PLAYING DRESS-UP…Program for the 1932 Beaux Arts Ball, and two of the attendees, **Frank Sanders** and **Frances Royce**. (Pinterest)

…if stuffy events weren’t your thing, you could chuck the fancy duds and head to the sunny beaches of Bermuda…

…I include this Coty advertisement for its modern look — it easily could have appeared in a magazine from the 50s or even 60s…the artwork is by American fashion illustrator Ruth Sigrid Grafstrom…

…the auto show has left town, but for some reason the makers of 12-cylinder models continued to shill their products in the New Yorker…Auburn (the middle ad) built beautiful, upscale vehicles, but the Depression would drop it to its knees by 1937…Pierce Arrow would succumb the following year…Lincoln, the highest-priced of these three, would hang on thanks to the largess of parent Ford…

…New Yorker cartoonist John Held Jr. picked up some extra bucks by designing this ad for Chase and Sanborn’s…

…and on to our other cartoonists/illustrators, Reginald Marsh wrapped this busy dance hall scene around a section of “The Talk of the Town”…

…Otto Soglow was back with his Little King, and the challenges of fatherhood…

…Leonard Dove gave us a knight lost on his crusade…

…Richard Decker explored the softer side of gangster life…

…and we sign off with Peter Arno, and a little misunderstanding…

Next Time: Winter Games…

Dream Cars

Whether or not you could afford a new car in Depression-era New York, you could afford to take your mind off the hard times for a few hours and visit the annual National Automobile Show at Grand Central Palace.

The 1932 exhibition featured many familiar brands, and others that would not survive the decade. Bolstered in part by the largess of General Motors and its downscale LaSalles, Cadillac could offer a pricey edition of the Fleetwood (at $5,542, roughly equivalent to $100K today), but most car makers featured models with reduced prices and/or smaller engines, as well as new technologies and design features they hoped would attract buyers of modest means. Excerpts from the New Yorker’s “Motors” column:

CAN’T TOUCH THIS…The Cadillac V16 Fleetwood sat atop the American car world in 1932. (classicdriver.com)

LOOK, BUT DON’T BUY…The *New Yorker* noted the crowds gathered around the Studebaker –produced “Rockne” at the National Automobile Show. Named for the famed Notre Dame football coach **Knute Rockne** (who died in a 1931 plane crash), this 1932 model attracted plenty of gawkers at the show but few buyers. It was soon discontinued, and leftover Rocknes were disassembled and sent to Norway, where they were reassembled and sold to Scandinavian buyers. (conceptcarz.com)

DOUBLE VISION…The 1932 Oakland Roadster (left) marked the end of the Oakland Motorcar Company, which had been previously acquired by General Motors. That same year Oakland was reborn as the Pontiac division, and the Oakland Roadster was reimagined as the 1932 Pontiac Model 302 (right). (Hemmings/justamericanautomobiles.com)

PALACE OF DREAMS…Grand Central Palace (top right) sat at Lexington Ave. between 46th and 47th Streets. A favorite locale for manufacturers to display their latest wares, it was demolished in 1963; at left, images from the 1935 National Automobile Show; bottom right, 1932 copy of *The Wheel*, produced by Studebaker for distribution at auto shows. (freelibrary.org/chicagology.com)

Whether folks were able to shell out more than $5,000 for a Caddy or a mere $700 for Plymouth, many left the show with nothing more than dreams for better days. Howard Brubaker summed it up thusly in his “Of All Things” column:

* * *

Darling Lily

Coloratura soprano Lily Pons (1898 – 1976) was not well-known in her native France when she took the Metropolitan Opera stage by storm in 1931 — she would become the Met’s principal soprano and, in 1940, an American citizen. The singer was profiled by Janet Flanner in the Jan. 16 issue (caricature by Miguel Covarrubias). Excerpts:

FRENCH TOAST OF THE TOWN…Coloratura soprano **Lily Pons** was particularly associated with the title roles of *Lakmé* (pictured above, mid-1930s), and *Lucia di Lammermoor*. Pons was a principal soprano at New York’s Metropolitan Opera for 30 years, appearing 300 times from 1931 until 1960. (Pinterest/YouTube)

If you have a few minutes, check out Lily Pon’s 1935 performance of “The Bell Song” from the film I Dream Too Much, which co-starred Henry Fonda. Although the sound quality is not the greatest, you can still get a pretty good idea why Met audiences adored her.

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Fantasy Bridge

Satirist Ring Lardner found something rotten in the behavior of robber barons and politicians in the midst of the Depression, so he imagined a bridge game that brought together banker J.P. Morgan (Jr), John D. Rockefeller (then the richest person in America and perhaps the world), Sen. Reed Smoot of the Smoot-Hawley Tariff Act (a catalyst for the Depression), and social worker Jane Addams. Excerpts:

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From Our Advertisers

If you were one of J.P. Morgan’s bankers, you might have considered hopping on a United flight instead of taking the train — within 20 years, airlines would make a serious dent into railroad’s corporate travel business…

…and if you were a successful banker, your daughter or granddaughter might have been an aspiring deb with some very specific needs…

…the Little King also had some specific fashion needs, as Otto Soglow brings us to the cartoon section…

…with the Auto Show in town, Helen Hokinson got her girls into the conversation…

…the “wizard control” they refer to was Buick’s gimmick to attract more women drivers to their product…here’s an ad from the Feb. 6 issue of the New Yorker:

…back to our cartoons with James Thurber, and the “war” that continued to brew between men and women (note artwork on the wall)…

…Al Freuh offered his perspective on meagre predictions for prosperity…

…as did one of William Steig’s precocious children…

…and Helen again with another privileged view of the downtrodden…

…Barbara Shermund showed us one woman’s interpretation of “belonging”…

…and Denys Wortman gave us one salesman who probably dreamed of some solitary drinking…

…on to our Jan. 23, 1932 issue…

…and this item in “The Talk of the Town,” which noted the challenges of publishing a book about Adolf Hitler…

…and a few pages later, we are treated to an E.B. White “song” written for delegates to the Conference for the Reduction and Limitation of Armaments which was being convened in Geneva, Switzerland…

Delegates from sixty countries attended the Geneva conference. They were there to consider the German demand that other nations disarm to the same levels that had been imposed on them by the Treaty of Versailles. The conference deadlocked by the summer, and when it was reconvened in February 1933 Hitler had just assumed power in Germany. By fall 1933 Germany withdrew from both the Disarmament Conference and the League of Nations, and the stage was set for another world war.

Here is a 1933 photo of the delegates to the Disarmament Conference before things went south:

A detail of the photo (below) reveals the identity of the tiny man seated at center: the representative from Germany — Minister of Public Enlightenment and Propaganda Joseph Goebbels. Just twelve years hence Goebbels would find himself trapped with Hitler and Eva Braun in a Berlin bunker as Soviet troops demolished the city above them. Goebbels and his wife, Magda, would poison their six children, and then themselves as the Third Reich crumbled to ashes.

A final note: The delegates weren’t alone in Geneva, as a number of peace organizations sent observers and demonstrators to the conference, many of them women:

APPEALS TO DEAF EARS…Women’s disarmament campaigner in Geneva, c.1932; right, a poster created by Dutch artist **Giele Roelofs** for the Northern Friends Peace Board and others. (London School of Economics/armingallsides.org.uk)

We’ll give the last word to Howard Brubaker in Jan. 30 “Of All Things” column:

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From Our Advertisers

With the National Automobile Show wrapping up, the Grand Central Palace prepared to welcome exhibitors for the annual Motor Boat Show…

…the woman in this next ad might have been better off in a boat than on the beach…I’m wondering if the artist had any idea that his or her illustration would be used to promote coffee…it’s hard to tell what is going on here…apparently a young woman has almost drowned and is receiving oxygen, or maybe she doesn’t really need it, and the perverted lifeguard and cop just want to ogle the poor beachgoer, who seems bored by the whole predicament…

…there is also something vaguely sexual going on in this ad for Vicks (what is he looking out for in panel four?)…the artist (the cartoon is signed “Len”) seems to be channeling one of Rea Irvin’s series cartoons…

…in the early 20th century it was fashionable to smoke imported luxury Egyptian cigarettes, or counterfeits like Ramses II, produced in the U.S. by the Stephano Brothers…

…the makers of Camel were among the most successful counterfeiters of Egyptian cigarettes — the camel, pyramids and palm tree motifs were no mistake, but by 1932 this established brand (launched in 1913) went less for snob appeal and more for the active, fresh-faced youths whose pink lungs were highly coveted by R.J. Reynolds…