Vanity Fair Magazine – Page 14 – Old Magazine Articles

Jacob Epstein: Firebrand of Art (Vanity Fair, 1915)

Jacob Epstein was brought up in the city of New York, being one of a group of young men from the other side of the Bowery, some of whom have since become well known in the arts.

Attached is a photograph of the American expatriot sculptor Jacob Epstein and three of his pieces. This is a short notice heralding the great splash that the artist was making in the London art world of 1915. Although his work can be found in many of the world’s finest museums, Epstein is best remembered today for his creation of the monumental sculpture that marks the grave of Oscar Wilde.

Summer Fashions (Vanity Fair Magazine, 1918)

Six very fine fashion drawings illustrate what was generally perceived to be the chic silhouette during the August of 1918.

There may be some women who can get along without satin frocks, but it is exceedingly doubtful..

Click here to read about military influeneces of feminine fashions.

Charlie Chaplin and His Popularity (Vanity Fair Magazine, 1921)

The Irish playwright St John Ervine (1883 – 1971) wrote this article for VANITY FAIR in an attempt to understand Charlie Chaplin’s broad appeal; rich and poor, highbrow and lowbrow, all enjoyed his movies.

Mr. Chaplin is the small boy realizing his ambitions.

Armored Cars and Trucks (Vanity Fair, 1916)

The American trucks and armored cars pictured here were not created specifically for the Great War, but no doubt they were sold to the French and British; a year later these trucks arrived with the A.E.F.. The bull dog that has for so long adorned the hood of the Mack truck dates to this conflict -the bull dog was the nick-name bestowed upon that vehicle by the Tommies.

Recognizing the importance of armored vehicles, a group of American Millionaires, among them Henry Clay Frick (1849 – 1919), pooled their money and donated a number of such items to the New York National Guard. Vanity Fair Magazine followed this story and produced this article as it developed with a thorough review of each of the donated military vehicles. Although the trucks are photographed, few are named.

Tango Fashions (Vanity Fair Magazine, 1913)

The urgent word from Belle Époque Paris on the matter of proper Tango gowns was published in this 1913 article and accompanied by seven illustrations.

What shall you wear to the Tango Teas? Let me whisper to you a secret, only to be revealed when it is found out, my dear, there is no Tango in America, or, at least in New York. But it is quite different in Paris and it is for Paris and the Tango that the French dance frocks are made.

Click here to read about feminine conversations overheard in the best New York nightclubs of 1937.

The Collar Accessory That Time Forgot… (Vanity Fair Magazine, 1918)

One of the unsung heroes of men’s fashions from the early part of the Twentieth century had to be the Triangle Hook. A nifty device, it was designed

to fit the soft collar for more fastidious wear; to make it fit the neck snugly, show the tie gracefully, and stay stylish…

‘The Attack of the Super Novelists” (Vanity Fair, 1919)

In this article, P.G. Wodehouse (1904 – 1975) sounded-off on a new type of novelist that had surfaced in 1919 – and has yet to decamp. He breaks the novelizing classes into two groups:

…the ordinary novelist, the straightforward, horny-handed dealer in narrative, who is perfectly contented to turn out two books a year, on the understanding – a gentleman’s agreement between himself and his public – that he reserves movie rights and is allowed an occasional photograph in the papers..

‘The Philosophy of Auguste Rodin” (Vanity Fair, 1917)

Just prior to the death of Auguste Rodin (1840 – 1917), the Welsh poet and essayist, Arthur Symons (1865-1945), reviewed a book written by the French writer, Judith Cladel (1873-1958) concerning the artist’s work and creative temperament:

AUGUSTE RODIN PRIS SUR LA VIE at once a document and a living thing. The main interest lies in the exactitude with which it records the actual words of Rodin, much as he must have spoken them y

‘Some Italian Futurists with a Past” (Vanity Fair, 1915)

VANITY FAIR critic James Huneker(1860 – 1921) had a few words regarding the Italian Futurist painters. Huneker stated that he had been following their progress since he first attended a 1912 Futurist exhibit, and in the subsequent years had gained a familiarity with their 1910 manifesto, which he summed up for this articleVanity Fair critic James Huneker(1860 – 1921) had a few words regarding the Italian Futurist painters. Huneker stated that he had been following their progress since he first attended a 1912 Futurist exhibit, and in the subsequent years had gained a familiarity with their 1910 manifesto, which he summed up for this article.

Harsh Words for the Futurists (Vanity Fair, 1916)

Writing for one of the earliest issues of VANITY FAIR, playwright and culture critic Mary Cass Canfield slammed some nails into the Futurist coffin a wee bit prematurely in this critical essay titled The Passing of the Futurists.