1919 – Page 13 – Old Magazine Articles

Woodrow Wilson and the Repeal of Prohibition
(Literary Digest, 1919)

For some in the U.S. Congress and for President Woodrow Wilson (1856-1924) in particular, the prohibition of alcohol in the United States (passed by Congress on November 1, 1918) was simply viewed as an appropriate war-time measure guaranteed to maintain the productivity of an efficient working class. However, with the First World War coming to a close, President Wilson saw little need in keeping the entire law as it was written, and he suggested allowing the sale and distribution of beer and wine. This article will inform you of the political will of the dry members of congress as well as the strength of the American clergy in 1919

Evidence of a Growing Discipline Problem Within the A.E.F.
(The Stars and Stripes. 1919)

After reading this small notice, one comes away with the sense that Pershing’s Doughboys were losing their edge by February, 1919…

When the Doughboys complained, they complained heavily about their uniforms; read about it here.

The Fleecing of Liberators
(The Stars and Stripes, 1919)

By the time April of 1919 rolled around, it seemed to the Doughboys who were waiting for that boat to take them back to the good ol’ U.S. of A that their French allies had a short term memory and were terribly ungrateful for American sacrifices made on their behalf. Many post-Armistice letters written by the Doughboys were filled with snide comments about the high prices they were asked to pay for everyday merchandise, prices that seemed to be chosen just for them. Wisely, the Stars and Stripes editors chose not to take sides in this debate but ran this nifty little piece about the manner in which the Americans of 1782 treated their French allies during the American Revolution.

Click here to read about the foreign-born soldiers who served in the American Army of the First World War.

Arthur B. Davies
(Vanity Fair, 1919)

An Arthur B. Davies (1862 – 1928) review written by VANITY FAIR art critic Frederick James Gregg following the opening of an exhibition highlighting the the private collection of N.E. Montross. The critic wrote:

Since the death of Albert Pinkham Ryder (1847 – 1917), Mr. Davies has been recognized, by persons abroad who are familiar with art in America, as the leading living painter on this side of the Atlantic.

The Third Anniversary of Verdun
(The Stars and Stripes, 1919)

1919 marked the third anniversary of the Battle of Verdun and the grounds were still littered with the dead, surrounded by a tons of equipment, lying in open fields pock-marked by thousands of high explosive shells:

Spring will come to France next month, but Spring will not come to the field of Verdun. Already the grass is green on the broad stretches of Champagne; in the Vosges the snow patches linger only in the stubborn shelter of rocks that bar the sun,; but there is no portent of resurrection in all the stretch of churned up gravel marking the line of forts that protect the citadel of the Meuse from the Northeast…the shell holes are filled with clear water, and between them course new born brooks, sublimating in crystal pools from which no man would dare drink.

U.S. Propaganda Pamphlets Dropped on the Hun
(The Stars and Stripes, 1919)

This is a swell read, written in that patois so reminiscent of those fast talking guys in 1930s Hollywood movies. One of the many reasons I find this era so interesting has to do with the fact that the war coincided with that mass-media phenomenon called advertising – and this article pertains exactly to that coincidence. This column was printed shortly after the war in order to let the Doughboys in on the existence of a particular group within the A.E.F. that was charged with the task of dumping propaganda leaflets all over the German trench lines:

Propaganda is nothing but a fancy war name for publicity and who knows the publicity game better than the Yanks?

Puttees In–Leggings Out
(The Stars and Stripes, 1919)

Shortly after training in France began it was discovered that the leggings of the American Army were no match for the moisture of the French countryside and so puttees were issued for the whole A.E.F. – the attached notice ordered the entire U.S. Army to wear them in place of canvas leggings.

Shrapnel Shells
(Freedom’s Triumph, 1919)

Attached herein are diagrams of three World War I shrapnel artillery shells designed for use on land. The illustrator provided precise details concerning the mechanism of each – the precise operation of the percussion fuse, the time ring, the location of the acid and the essential shrapnel projectiles.

W.W. I Gas Shells of the German Army
(Almanach Hachette, 1919)

It is often believed that the Germans were the first to use chemical weapons during the Great War, but historians like to point out that they were second to the French in this matter: in August of 1914, French infantry fired tear-gas grenades and in October, the Germans one-upped them with chemical artillery shells during the battle of Neuve Chapelle. However, the Germans are properly credited for being the first of the combatants to use chemical artillery with the most devastating effect. On April 22, 1915, the German Army hurled 520 gas shells at British and Canadian units in Belgium, killing five thousand and incapacitating ten thousand more. Following this historic incident, both sides began producing large amounts of gas shells and, of course, gas masks. The following is a black and white diagram depicting five different German gas artillery shells that were manufactured to be fired from a number of different guns of varying calibers.

A German Sniper Captured
(What the Boys Did Over There, 1919)

Attached is a remembrance that was written by a Canadian infantryman who participated in the capture of a German sniper in Flanders:

We wasted no time on the return journey but hustled Fritz along at a brisk pace…Like most of his breed there was a wide ‘yellow streak’ in this baby-killer and he cried ‘Kamerad’ instantly. By the time the lieutenant had secured his prisoner’s rifle our barrage was falling and, under its protection, he began his march back with the prisoner, and met us before he had gone twenty-five yards…The prisoner expected to be killed at once and begged piteously for his life, saying ‘he had a wife and three children.’ One of the men replied that if he had his way he would make it a ‘widow and three orphans.’

A Fourth Overseas Chevron for Some
(The Stars and Stripes, 1919)

A short news item named the three American officers who served over there long enough to be granted the adornment of a fourth overseas chevron. Each gold wire chevron, worn on the lower left cuff, represented a single six month period served in theater; the vast majority of A.E.F. uniforms had anywhere between one and three sewn in place.

Another article about over-seas chevrons may be read here…

Manufacturing the Overseas Cap
(America’s Munitions, 1919)

The production of the overseas cap for the American Expeditionary Forces was likewise an extensive undertaking. When the requisition for overseas caps came from France, it was not possible to design one here because of a lack of knowledge as to what was required… As soon as [a] sample was received a meeting of cap makers was called in New York, and 100 manufacturers attended. One and all agreed to turn over their factories to the exclusive production of overseas caps until all requirements were met. It took these cap makers only two weeks to to turn out the first order. In all 4,972,000 caps were delivered.

The concluding paragraph contains more venomous comments as to what these American milliners thought of the lid.

From Amazon: America’s Munitions, 1917-1918.

Manufacturing the Overseas Cap
(America’s Munitions, 1919)

The concluding paragraph contains more venomous comments as to what these American milliners thought of the lid.

From Amazon: America’s Munitions, 1917-1918.

Art Sacandal: Aubrey Beardsley Forged
(Vanity Fair, 1919)

London’s post-World War I art world was rocked by a scandal involving a number forged drawings which were misleadingly signed with the name Aubrey Beardsley (1872 – 1898). This piece captures that moment.

A Puttee Advertisement
(The American Legion Weekly, 1919)

This advertisement was placed in an American veteran’s magazine as an attempt to produce some profit from the vast surplus of uniform items that remained in all the combatant nations at war’s end. Puttees, unlike other uniform items, enjoyed a brief moment in fashion’s spotlight during the late teens and much the twenties as an accessory for those who enjoyed camping and hunting (or simply wished to affect the look).

Also included is a fashion photograph of puttees from a VANITY FAIR fashion editorial from 1917

Paris Puts a Stick in the Mode…(Vogue Magazine, 1919)

Fashion, like all empires, has it’s slaves. The slaves are treated cruelly but, strangely, they never seem to mind; they do what ever is required of them. Many are the examples of fashion’s tyranny: in the past it has demanded that it’s slaves wear cowboy boots, although none could rope a steer, and it has demanded of it’s slaves that they wear uniforms, although none could fight. In fashion’s name the slaves have removed ribs and teeth, reduced or enlarged body parts, dyed hair cross-dressed and tattooed themselves like jail-birds. The slaves do it all and there seems to be no limit to fashion’s fickle whims that will ever make them say, no.

To illustrate this point, you can read this beautifully illustrated Vogue magazine article from 1919 in which the beast demands perfectly healthy young women to walk with canes.

American Ambulance Volunteers in the Service of France
(The Stars and Stripes, 1919)

A thumbnail history of the United States Army Ambulance Service, which first arrived in June of 1917.

All through the hard French fighting of 1917 the 6,000 American ambulance drivers kept steadily at work in every sector of the French front. It was not until March, 1918, that the first sections of the service found themselves helping in battles with the fighting regiments of their own Army.

Many of the volunteers were college men, such as the poet E.E. Cummings, who wrote an interesting account of his days as an ambulance driver during the war.

Meet Ann Fish: Conde Nast Illustrator
(Vanity Fair, 1919)

Some ninety-three years ago, Fish was the name scribbled on those unique cartoon illustrations that could be found throughout VOGUE (both American and British) and VANITY FAIR. The editor of American VOGUE between the years 1914 and 1952, Edna Woolman Chase (1877 – 1957) called this English cartoonist brilliant and began running her drawings from her earliest days in that office; her full name was Ann Fish and this article will tell you all we know about her.

This most cosmopolitan of living black-and-white satirists has never stirred from England in all her days. She has never especially extended herself as a spectator of the London life which she so amusingly depicts. She has never gazed on Fifth Avenue.