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Rockwell Kent: Artists of Democracy
(Rob Wagner’s Script Magazine, 1942)

The U.S. had only been actively engaged in World War II for five months when the American artist Rockwell Kent (1882 – 1971) felt the impulse to write about the unique roll an artist must play when a democracy goes to war:

The art of a democracy must be, like democracy itself, of and by and for the people. It must and will reflect the public mood and public interest…Awareness of America, of its infinitely varied beauties and of its sometimes sordid ugliness; awareness of the life of America, of its fulfillments and its failures; awareness, if you like, of God, the landscape architect supreme – and political failure: of the promise of America and of its problems, art has been, or has aimed to be, a revelation. It is for the right to solve these problems our way that we are now at war.

The Princess Colonels of 1914
(Vanity Fair, 1914)

Attached is a page from VANITY FAIR MAGAZINE depicting the ten European princesses from 1914, having benefited from full hair and make-up, posing bemedaled and amused in full military dress before the society magazine cameras.


The Royals pictured on this page were all granted the ceremonial rank of ‘Colonel’ in the household cavalry units within their respective principalities, as well as a few of the cavalry regiments outside their domains.


Several of the Royal and Imperial women in Europe, who are possessed of military rank, have lost their colonelcies in foreign regiments by the World War. Thus, the Czarina and the Russian Grand Duchess, as well as Queen Mary of England, have been deprived of their commands in the Kaiser’s army.

Architect Rudolf Schindler
(Direction Magazine, 1945)

Esther McCoy (1904 – 1989) was one of the few voices in Forties journalism to champion modern architecture in the city Los Angeles. Sadly, the common thinking among too many critics and editors at the time held that Gomorrah-Sur-la-Mer could only to be relied upon for innovations like Cobb Salad and valet parking – but McCoy recognized that the city’s dramatic quality of light and odd lunar landscape combined to create fertile ground for modern architecture. Unlike other like-minded critics and historians who discovered the city in later decades, such as Reyner Banham, McCoy came to know the Viena-trained architect Rudolph Schindler, who is the subject of this 1945 article.

Architect Rudolf Schindler
(Direction Magazine, 1945)

Esther McCoy (1904 – 1989) was one of the few voices in Forties journalism to champion modern architecture in the city Los Angeles. Sadly, the common thinking among too many critics and editors at the time held that Gomorrah-Sur-la-Mer could only to be relied upon for innovations like Cobb Salad and valet parking – but McCoy recognized that the city’s dramatic quality of light and odd lunar landscape combined to create fertile ground for modern architecture. Unlike other like-minded critics and historians who discovered the city in later decades, such as Reyner Banham, McCoy came to know the Viena-trained architect Rudolph Schindler, who is the subject of this 1945 article.

Saul Steinberg
(Gentry Magazine, 1955)

The art of living in the wrong century – this is Saul Steinberg’s (1914 – 1999) own designation for the predicament he has been illustrating for over a decade. In his latest collection, The Passportstyle=border:none (the title is a deceptively mild clue to the whole works; it sneaks up on you), he has again and more inexorably than ever demonstrated his infinite capacity for taking pains in his graphic pursuit of melange, drafting, with a vilifying grasp of the murderously essential, our contemporary quest for style – in architecture, in furniture, clothing and machines – which we can also own.

Saul Steinberg
(Gentry Magazine, 1955)

The art of living in the wrong century – this is Saul Steinberg’s (1914 – 1999) own designation for the predicament he has been illustrating for over a decade. In his latest collection, The Passportstyle=border:none (the title is a deceptively mild clue to the whole works; it sneaks up on you), he has again and more inexorably than ever demonstrated his infinite capacity for taking pains in his graphic pursuit of melange, drafting, with a vilifying grasp of the murderously essential, our contemporary quest for style – in architecture, in furniture, clothing and machines – which we can also own.

The Year of Sound
(Theatre Arts Magazine, 1929)

The oddballs who read old Hollywood magazines from the year 1929 seem to all be in agreement that these magazines all shared the same frenzied, enthusiastic energy; something new and wonderful and unpredictable had been introduced and it was going to cause an enormous shake up in every movie capitol under the sun: sound.

But it was in the past year that the newest art, that of the silent drama, like prehistoric Man, stood up on it’s hind legs and began to talk. Like prehistoric man, it talked badly at first. But soon it’s words came a shade more fluently, and gradually they began, when arranged, to make a small degree of sense.

Read about the first talkie movie star: Mickey Mouse…

The First Automotive Brake Lights
(Popular Mechanics, 1918)

Many dented fenders later, the first signal indicators show up. This article makes clear that both the Brake light and the turning signal indicator are both the same color (red) but they are an improvement on what was sporadically used in a few circles: the Illuminated Glove (a fingerless mit intended for the left-hand that was supposedly easier to see when making stop or turning gestures).

Optimistic Plans Regarding the Use of Cavalry
(The Alertmen, 1943)

This illustrated article from an obscure U.S. Army weekly states quite clearly that in light of the successful use of cavalry on the Eastern Front, the U.S. Army was once again training men to fight on horse-back. Referring to the writings of a Soviet General named O.T. Gorodoviko (a probable reference to General O.T. Gorodovikov: 1879 -1960) who had stated in an article written in an undated issue of The Cavalry Journal, that cavalry proved effective in fighting the Nazis when deployed as mounted infantry in limited engagements. The journalist conveyed his enthusiasm that the era of the mounted man was back.

Please give us your thoughts about this article, something seems terribly fishy; did over-extended Soviet Generals have time to write for American journals? Furthermore, you might find that the accompanying photos seem deliberately out of date. The hard-charging post-debutants at OldMagazineArticles.com tend to feel that this article was a hoax intended to throw someone off the trail…

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