Above: Walter Dorwin Teague's design for Kodak's "Brownie" camera, circa 1930. (Milwaukee Art Museum)
Walter Dorwin Teague pioneered industrial design as a profession, firmly believing that great, heirloom-quality design could be available to all, and that even mass-produced objects could be beautiful if they possessed “visible rightness.”
Cultural critic Gilbert Seldes profiled Teague (1883–1960) in the Dec. 15 issue, and in this excerpt he examined the designer’s role in the streamlining craze that emphasized movement and speed in everything from locomotives and automobiles to radios and pencil sharpeners.
In this next excerpt, Seldes noted that Teague shared the thinking of other modernists of the time, namely that people could be herded into towers, even in rural landscapes. At any rate, Teague’s ultimate objective, according to Seldes, was to make everyday living more attractive to the masses.
* * *
Art Depreciation
Lewis Mumford did a bit of hate-viewing during a visit to the Whitney Museum, which hosted the Second Biennial of Contemporary American Painting. Mumford found a few works he genuinely liked, but had to admit he also enjoyed the ones he hated. Excerpts:
* * *
The Swash Buckles
Film critic John Mosher checked out Douglas Fairbanks Sr’s latest movie, The Private Life of Don Juan, which would prove to be the old swashbuckler’s last hurrah.
* * *
Toyland 1934
The New Yorker continued its seasonal tradition of offering exhaustive descriptions of various wares around the city, including the many new toys that would be available to children whose parents could afford them. An excerpt:
“Patsy” dolls and doctor/nurse kits were also popular sellers in 1934…
The article was followed by detailed listings of department stores and select toys. Here are excerpts featuring two of the toy biggies: Macy’s and F.A.O. Schwarz:
* * *
From Our Advertisers
We kick off the holiday season with Santa bringing cheer to the world, his bag laden with tobacco products from the jolly elves at R.J. Reynolds…
…along with your cigarette you could enjoy a cup of this frothy eggnog spiked with a generous shot of Paul Jones…
…and I pity the poor soul who was hoping for a toaster from Santa…perhaps the companion “Hospitality Tray” will add an extra dose of good cheer…
…however some may have wished for a revolutionary Parker “vacumatic” pen…no more dipping into the old ink-well…
…I include this ad simply for the terrific Abe Birnbaum caricature of Broadway producer Sam Harris…
…on to our cartoonists, we begin with this merry spot by George Price…
…William Crawford Galbraith gave us another person in the spirit of the season…
…as did Daniel ‘Alain’ Brustlein…
…a less cheery note comes to us from James Thurber, who gave us a patron unhappy with changes to his familiar watering hole…
…and we have Alain again, and a spirited salesperson…
…Barbara Shermund gave us a glimpse of the awkward courtship rituals of the male peacock…
…and we close with Jack Markow, and the demands of Hollywood life…
Otto Klemperer rehearsing at the Hollywood Bowl in September 1937. (Los Angeles Philharmonic)
The 20th century was an age of big personalities in classical music, among them Otto Klemperer (1885-1973), a German-born protégé of the composer and conductor Gustav Mahler. Klemperer was already an established conductor in opera houses around Germany when the rise of the Nazis prompted the maestro to emigrate with his family in 1933. He was soon appointed chief conductor of the Los Angeles Philharmonic.
Klemperer also guest conducted a number of orchestras in the U.S., including the New York Philharmonic, where his larger than life presence caught the attention of “The Talk of the Town.” Excerpts:
Lauded internationally as a great orchestral commander, in 1939 Klemperer would begin experiencing balance issues. After a tumor the size of a small orange was removed from his brain, he would be left partially paralyzed on his right side; bouts of depression and a manic phase would later land him in a mental hospital. However, by 1946 he would recover his health enough to return to conducting in a career that would last until 1971.
The conductor’s daughter, Lotte Klemperer (1923–2003), would serve as her father’s secretary, negotiator and administrator until his death in 1973. Otto’s son, Werner Klemperer (1920–2000), would become a stage, screen and television actor, most notably portraying Colonel Klink in the 1960s comedy Hogan’s Heroes. Although the role would garner Werner two Emmys, his father never fully understood the series or even the concept of a sitcom. Reluctant to pursue a musical career while his father was alive, Werner would later join the Metropolitan Opera Company in the 1970s, appear in Broadway musicals, and serve as a narrator with a number of American symphony orchestras.
* * *
Vanished in the Haze
In his “Notes and Comment,” E.B. White lamented what appeared to be the transformation of the familiar night club; high above Manhattan in the Rockefeller Center’s Rainbow Room, the comforting haze of “cigarette smoke, talc, waiter’s venom” had been displaced by air conditioning, and to add to the horror, an organ had been installed that tinged the fox trot “with an odd piety.”
* * *
There Oughta Be a Law
While E.B. White was mourning the demise of the smoky nightclub, art and design critic Lewis Mumford continued his tirade against the pretentious and mediocre buildings that were popping up all over the city, including the new Federal Court Building on Centre Street that was, in Mumford’s words, a supreme example of bad design and fake grandeur.
* * *
Crime of the Century
That is what the press called the kidnap and murder of the infant son of Charles Lindbergh and Anne Morrow. In September 1934 a German immigrant carpenter named Bruno Hauptmann was arrested for the crime, and a trial date was set for the following January. In his “A Reporter at Large” column, Morris Markey examined the ransom money trail that led to Hauptmann’s ultimate arrest. Excerpts:
* * *
Should Have Stayed Lost
A film version of Willa Cather’s 1923 novel A Lost Lady was first made as a silent by Warner Brothers in 1924 (the film itself is lost) but in 1934 Warner had another go at the novel with a sound version starring starring Barbara Stanwyck, who was emerging as a major star. But Stanwyck’s talents could not overcome a script that critic John Mosher described as bleak, blank nonsense. Cather was so dismayed by the film that she refused to permit another adaptation of any of her novels during her lifetime.
* * *
From Our Advertisers
We kick off our sponsors with this two-page center spread from Hiram Walker & Sons, who introduced their new line of playing card-inspired whiskies…
…the New Yorker’s Janet Flanner wrote in 1938 that Elsie de Wolfe invented interior design as a profession, so who was to argue with de Wolfe’s suggestion that the leisure class should linger in bed with the aid of a Wamsutta bed-rest…the small print beneath the logo indicated that the bed-rest was “hair-filled,” which I assume was horse hair, still used today in some luxury brands…
…if de Wolfe was queen of interior designers, then Hattie Carnegie was the “First Lady of Fashion,” or so this ad claimed…
…here are images of the two titans of fashion and good taste…
…and speaking of fashion, here is a llama cloth coat from B. Altman, trimmed in silver raccoon, suitable for Yale football games…based on inflation, that coat today would set you back at least $2,000…
…this condescending ad offered merchants a way to reach the “hitherto strange and aloof women of New York” through daytime advertising…
…Plymouth enlisted the talents of Alan Dunn to tout their car’s ride and durability…
…and on to our cartoonists, another from Dunn, a bit of spot art featuring a not so subtle commentary on Lawrence Lee Bazley Angas’s book The Coming American Boom…
…and some spot art from Isadore Klein…
…Miguel Covarrubias contributed to the theater review section…
…James Thurber entertained a house guest…
…George Price was still up in the air…
…Helen Hokinson took a spin with a celebrity look-alike…
…and Barbara Shermund offered another glimpse into the life of a modern woman…
…on to Oct. 20, 1934…
…in which E.B. White offered up a new lament, namely the pervasiveness of nostalgia and sentiment in contemporary literature…
* * *
Fifty Years Young
“The Talk of the Town” marked the Dakota’s 50th year at Central Park West, and made note of its loyal and prominent clientele…back in the day it served as a residence for actors such as Lillian Gish, Boris Karloff, and Teresa Wright, and in later years such luminaries as Lauren Bacall, Judy Garland, Rudolf Nureyev, and, of course, John Lennon and Yoko Ono.
* * *
More From Our Advertisers
The Matson-Oceanic Line offered a “millionaire’s idea of a vacation” at an affordable price, and offered this sumptuous image as proof…
…E.B. White wasn’t crazy about the smokeless dazzle of the Rainbow Room, but it proved to be popular among the city’s elite…
…in case one was concerned about the provenance of one’s mink coat, Saks posted this helpful ad. Their high-end, natural-skin minks were priced at $8,000 (roughly $180,000 today); there was, however, a caveat regarding the cheaper models…
…Bergdorf Goodman offered up another ad featuring an impossibly attenuated model posed with a cigarette, her defiant gaze suggesting her modernity and individualism…
…Plymouth went back to the stable of New Yorker cartoonists, this time featuring the adventures of Helen Hokinson’s “girls”…
…and we segue to the rest of our cartoonists, including this spot by Constantin Alajalov…
…and this by George Price…
…who also gave us another update on the trials and tribulations of his floating man…
… James Thurber occasionally ignored scale in rendering his characters, which didn’t really matter in his strange world…
…Jack Markow had some bad news for two sign painters (the caption size is increased for readability)…
…and we close with Peter Arno, and the winner of most original Halloween costume…
…and before I go…this is being posted on Halloween, 2023, so here are a few images from 1934 to get you in the spirit, including a Saturday Evening Post cover, a 1934 party ideas magazine, and a page from Popular Mechanics featuring a smoking robot costume you could make yourself…in the 1930s, Popular Mechanics often featured Halloween party ideas that were downright lethal, usually involving electric shocks, pistols loaded with blanks, that sort of thing.
When New Yorker cartoonist Peter Arno hooked up with his colleague, nightlife columnist Lois Long, it was like twisting together two sticks of dynamite.
Married in 1927, they were the glamour couple at The New Yorker, and each played an outsized role in giving the early magazine a distinctive, cosmopolitan voice and look. Hard-drinking hell raisers, they both loved the Roaring Twenties nightlife in what seemed like an endless party. But when the party ended, so did their brief, volatile marriage.
As the end of her marriage neared, the 29-year-old Long had become almost circumspect, and in a series of columns under the title “Doldrums,” she took a skeptical look at the world around her, the sad ways of the younger generation, and in this fifth installment, subtitled “Can’t We Be Friends?”, she probed the inequities of a society that encouraged women to be hard-working, super competent and attractive while men still did as they pleased (the question remains today: recall 2018, when Facebook’s Sheryl Sandberg asked women to “Lean In”).
In Vanity Fair,Ben Schwartz (“The Double Life of Peter Arno,” April 5, 2016) quotes Arno’s and Long’s daughter, Patricia (Pat) Arno, about her parents’ wild relationship: “There were lots of calls to (gossip columnist Walter) Winchell or some other columnist about nightclub fights…with my mother calling and saying, ‘Oh, please don’t print that about us,’ trying to keep their names out of the papers.”
Here’s another excerpt from Long’s “Doldrums,” asking about the state of Modern Men (apologies for the missing fifth line — “novels”)…
Long had not only given up on marriage—and apparently men for the time being—but she’d also had it with the partying life. She had put her nightlife column, “Tables for Two,” on hiatus, turning her attentions to her popular fashion column, “On and Off the Avenue,” while continuing to contribute unsigned pieces to “The Talk of the Town” and occasional pieces like “Doldrums.”
In early 1931 Arno moved to Reno, Nevada, which granted quick divorces to anyone who took up residency for five months. According to a 2016 book written by New Yorker cartoonist Michael Maslin(Peter Arno: The Mad, Mad World of The New Yorker’s Greatest Cartoonist), Arno found more trouble in Reno when newspaper publisher Neely Vanderbilt accused him of having an affair with his wife, Mary, and threatened violence against Arno. Maslin writes: “Nearly lost in the whole Arno/Vanderbilt dust-up was the end of Arno and Long’s marriage. On June 29th, Lois was granted a Reno divorce on the grounds of intolerable cruelty.” I highly recommend Maslin’s book, filled with anecdotes drawn from a fascinating life lived in some of New York’s headiest times.
Vanderbilt would also divorce his wife in 1931. Mary Weir Logan Vanderbilt was the second of his seven wives.
Arno and Long would get joint custody of Patricia, but the child would remain living with her mother. Long had this to say about the future of her “Little Persimmon”…
* * *
A Man’s World?
E.B. White wondered in his “Notes and Comment” after encountering a barroom (had to be a speakeasy) with a carpeted floor…
* * *
Long Before Social Distancing
There were many diversions around the old city, including baseball games and the circus at Madison Square Garden…some clips from the “Goings On” section…
…Reginald Marsh marked the arrival of the circus with a drawing that encircled pages 20-21…here is a detail…
and how the whole thing appeared…
* * *
The Twain Never Met
Once a star attraction with the Ziegfeld Follies, comedian Will Rogers was also finding success on radio and in the films. His latest talkie, A Connecticut Yankee, referenced Mark Twain’s 1889 novel, A Connecticut Yankee in King Arthur’s Court, in name only, as noted by reviewer John Mosher. But then again, Rogers himself was not a Yankee, but an Okie.
* * *
From Our Advertisers
If you had the time but not the means to travel to Europe (it was the Depression, after all), you might have considered a trip to “Old Québec,” just 500 miles up the road from New York City, although in those days you likely took the train, or possibly a boat, since routes between cities were still a uneven patchwork of roads…
…and you could look stylish at the station or the boat dock with these handsome Hartmann trunks…
…these spring travelers opted for a car, filled with the aroma of burning tobacco…
…spring was also time for the latest Paris fashions, and Macy’s suggested you could “put one over on Paris” by donning a garment spun from from DuPont’s miracle fiber, Rayon…
…however, those operating the finer dress shops would never consider letting any synthetic hang in their windows, or touch their skin for that matter, and proudly proclaimed the latest shipments from Paris…
…those shopping for Paris fashions might have consulted Majorie Dork to get slim in all the right places…
…on to our illustrations and cartoons, we have two by Ralph Barton, his “Hero of the Week”…
…and his “Graphic Section” take on the week’s news…
…Gardner Rea kicks off our cartoons with a look at the machine age…
…Rea’s cartoon referred to the popular vaudeville comedian Joe Cook, who was known for his demonstrations of needlessly complex machines…here he is featured in the September 1931 issue of Modern Mechanics magazine…
…Erlanger’s Theatre advertised Cook’s “Newest, Maddest Musical” in the back pages of TheNew Yorker…
…it’s not often you find Mahatma Gandhi as the subject of a cartoon…this one is by Bruce Bairnsfather…
…a unique form of stage fright was illustrated by John Floherty Jr…
…Jack Markow gave us a little night music…
…Leonard Dove and the possibly reluctant apple of someone’s eye…
…I would love to know more about this Rea Irvin cartoon, which seems to be a parody of a cartoon from the British Punch…
…John Reehill rendered a portentous moment at the barbershop…
…and finally, today’s cover (bottom left) by Charles Donelan caught my eye because the early New Yorker rarely noted the existence of baseball, except in the events section. Up to this point there had been just two covers featuring baseball: May 8, 1926, by Victor Bobritsky…
…and, at right, the Oct. 5, 1929 cover by Theodore Haupt...
…as for the cover on the left, it would be Charles Donelan’s only New Yorker cover…throughout his career he would illustrate for various publications, including the sports section of the Boston Traveler (this is from the March 21, 1921 edition)…
…and a comic strip featured in the Boston Globe called “Russett Appul” (this is from Oct. 11, 1929)…Donelan also performed Russett and other characters on Boston radio stations and stage shows…
Since I am posting this on the night before All Hallow’s Eve, let’s take a quick look back 89 years at Halloween 1930 through the pages of the Oct. 25, 1930 issue of The New Yorker…
…which featured a short story (excerpted below) by Sally Benson, who would write a series of shorts for The New Yorker in 1941-42 that were later published in her book, Meet Me in St. Louis. Note how Prohibition laws seemed to pose no obstacle to the Bixbys’ party plans:
Benson’s Meet Me in St. Louis would be adapted into a popular 1944 film starring Judy Garland. One of the film’s highlights featured the Halloween hijinks of Tootie and Agnes Smith (Margaret O’Brien and Joan Carroll).
…Halloween revels were also popular with the college kids…
…and of course Hollywood got in on the act, each studio issuing pinup-style images of major female stars to newspapers and magazines …
…the pages of the Oct. 25 issue contained other references to the holiday, including these Julian de Miskey spot drawings…
…and there were also ads offering both parties and party treats to those seeking some Halloween fun…
* * *
Not Exactly Whale Watching
On to our issues, the Oct. 15, 1930 edition featured a strange account (in “The Talk of the Town”) of a man who travelled the country with an embalmed whale carcass, which apparently drew large crowds wherever it was displayed.
The account is disgusting on a number of levels (the last line: “People simply love whales”). During my research I learned that these “whale tours” continued into the 1970s.
For further reading, author Lydia Pyne offers some history on this strange phenomenon at Not Even Past.
* * *
From Our Advertisers
The owners of the new Barbizon-Plaza Hotel at 106 Central Park South tried their best to lure the smart set (especially artists and musicians) to this “habitat” designed especially for them. Unfortunately, artists and musicians were as broke as everyone else, and the property was foreclosed on in 1933…
…and we have another appeal to the smart set, this one from the publishers of Vogue magazine (now a sister publication to the New Yorker, as both are now owned by Condé Nast)…
…and one more appeal to fashionable sorts, this time perfume in a bottle shaped like an art deco skyscraper…
…here is what one version of the bottle looked like in 1928, similar to ad above. According to the blog Cleopatra’s Boudoir, the We Moderns perfume was sold from 1928 to 1936 in bottles made in Czechoslovakia. The bottle below was made from glass, enamel (label), and the early plastic Bakelite (cover and base)…
…on to our color ads, I like this one because RCA induced the inventor of wireless radio, Guglielmo Marconi, to endorse their “Radiola”…
…and we have a beautiful illustration by Ellis Wilson for Dodge Boats…
…on to our cartoons, we begin with Denys Wortman…
…here’s the art of Rea Irvin on a full page…
…Helen Hokinson kept up the tradition of New Yorkers looking down on those backward Bostonians…
…Alan Dunn, illustrating the sunlamp fad of the 20s and 30s…
…and Jack Markow, checking on the progress of the Empire State Building…
On to the Oct. 25 issue, and the Broadway opening of the comedy Girl Crazy…
…which featured Ginger Rogers and Ethel Merman introducing the many hits from George Gershwin’s score including “I Got Rhythm” and ‘Embraceable You.” The plot was simple: a young New York playboy is banished by his family to a dude ranch in Arizona to keep him out of trouble…where of course he finds trouble. The orchestra for the Broadway performance included such talents as Benny Goodman, Glenn Miller, Jimmy Dorsey, Jack Teagarden, and Gene Krupa.
* * *
More from Our Advertisers
Ads from the Oct. 25 issue included this recurring one from the promoters of the Empire State Building, marking progress through various historical vignettes…
…the ad accurately depicted the building’s progress, measured against these images below…
…and we have more radio ads…no endorsement from Marconi here, but the makers of Fada claimed their receiver was far less annoying than their rivals…
…while Atwater Kent touted the convenience of its new “Quick-Vision Dial”…
…as I’ve previously noted, backgammon was all the rage in 1930, so much so that this clothier even advertised a special frock for the game…
…and what would the 1930s be without smoking tied to athletic prowess…
…and remembering friends and family in California in 2019 as they battle wildfires across that great state…
…on to our cartoons, Garrett Price introduced us to a man with a peculiar taste in pet canaries…
…Barbara Shermund illustrated the startling views afforded by rail travel…
…and Peter Arno leaves us in a moment of religious ecstasy…
With the 1920s ending with a crash, few seemed interested in looking back to that decade. Indeed, just days into the 1930s the Jazz Age seemed to belong to a distant, frivolous past.
Or at least that is how popular historian Alvin F. Harlow (1875-1963) saw it, penning this somewhat cynical, tongue-in-cheek retrospective on the “great events” of the previous year…
…Harlow continued to list the various ways folks sought relief “from the monotony of existence” in 1929…
…as well as the persistence of superstition and quackery…
* * *
A Byrd Takes Wing
In 1928 and 1929 the name Richard Byrd popped up quite a bit in the pages of The New Yorker, and for good reason. In 1928 Byrd — already known for his exploits at the North Pole — began his first expedition to the Antarctic, a land that was as remote to explorers in the 1920s as the moon was to us in the 1960s. On Nov. 28-29, 1929, Byrd — along with pilot Bernt Balchen, co-pilot/radioman Harold June, and photographer Ashley McKinley — flew a Ford Trimotor to the South Pole and back in 18 hours, 41 minutes. It was such a feat that Byrd was promoted to the rank of rear admiral by a special act of Congress on December 21, 1929, making the 41-year-old Byrd the youngest admiral in the history of the United States Navy. In his “Notes and Comment,” E.B. White was still awaiting details of the heroic adventure:
In his “Wayward Press” column, Robert Benchley commented on Byrd’s promotion, and took a shot at The New York Times (the Gray Lady was a favorite New Yorker target) for monopolizing the news of the South Pole expedition:
E.B. White also touted an endorsement by the venerable magazine The Nation, which included both Adm. Byrd and The New Yorker in its Honor Roll for 1929:
* * *
Bitter and Sweet
“The Talk of the Town” looked in on English light opera actress Evelyn Laye (1900-1996), who had just arrived in town to make her Broadway debut in the American première of Noël Coward’sBitter Sweet. “Talk” discovered that Laye “had her own notions” about how a stage actress should conduct herself:
Although Laye refused star billing in Bitter Sweet, she had no problem appearing in this two-page ad for Lux soap in The New Yorker’s Jan. 18. issue, hers the only full-page portrait in the ad:
…and so we segue into the ads for Jan. 11, where we find all sorts of diversions in the back pages, including an appeal to revelers for the Greenwich Village Ball (top left corner). The ad copy reads “come when you like, with whom you like—wear what you like…” and asks the question “Unconventional? Oh, to be sure—only do be discreet!”
…for reference, here is an invitation from the 1932 Greenwich Village Ball, with a list of patrons printed on the inside cover, including the “King of Greenwich Village Bohemians,” Maxwell Bodenheim, and poet Edna St. Vincent Millay’s two sisters Norma and Kathleen…
…ads for private airplanes were a regular feature in The New Yorker, aviation companies assuming that at least some readers had the means to consider such a purchase…the copy in this ad emphasized the ease of flying—here is a sample from the fifth paragraph: “You take off…leave the ground in 6 seconds…climb so swiftly you are 500 feet as you pass over the fringe of the flying field…and 500 feet higher before you finish lighting a cigarette…”
…here’s a better view of the Ireland Amphibion…
…but for those who remained firmly on the ground, respite could be found in a nice, quiet (and affordable) office, a place where one could, perhaps, start rebuilding from the ashes of the market crash…
…and for those with a little extra scratch, they could treat themselves to the patrician comforts of a nice bathroom…
…on to our cartoons, we have a nice little culture clash courtesy of Barbara Shermund…
…Carl Rose illustrated a clash of a different sort…
…John Held Jr. was back with one of his slightly naughty “engravings”—these were favorites of founding editor Harold Ross, with his rustic tastes…
…W.P. Trent explored the strange ways of social status…
…Jack Markow looked in on life on the skids, a theme that would become more frequent as the Depression deepened…
…and after thirty installments throughout 1929, Otto Soglow’s manhole series — a one-panel gag featuring dialogue from unseen workers Joe and Bill…
…came to an end when Joe and Bill finally emerged…