Showing posts with label George S. Kaufman. Show all posts
Showing posts with label George S. Kaufman. Show all posts

Tuesday, January 18, 2022

Sight Unseen: The First Issue of The New Yorker, February 21, 1925

On New Year's Day, I came across an AbeBooks listing for the very first issue of The New Yorker, dated February 21, 1925. I was immediately taken aback by the asking price, an absurdly low $4.39.

The New Yorker
AbeBooks
listing accessed January 1, 2021




Copies of the magazine's rare first issue currently listed on eBay are priced at $4,000 to $4,500, give or take a penny. There's no way a true copy could be selling for one one-thousandth of its market value, right? My best guess was that Discover Books of Toledo had mistakenly listed the 1953 reprint of the first issue.
Two current eBay listings of the first issue of The New Yorker, preceded by the 1953 reprint




The title of the AbeBooks listing was "The New Yorker, February 21, 1925 (Volume 1)." There was no accompanying photo. Listed authors were Ralph Barton, Marc Connelly, Rea Irvin, George S. Kaufman, Alice Duer Miller, Dorothy Parker, and Alexander Woollcott. Those were indeed the advisory editors listed on the first issue's masthead. The listing's specific details were all absolutely correct, but the price was too good to be true. Who was I not to take a shot at it? I placed my order sight unseen. Ten days later, the package was in my hands.


Here then are the contents:




The New Yorker Twenty-Fifth Anniversary Album 1925-1950 was published in 1951 and reissued in paperback in 1986, some sixty-one years after the first issue's publication. How a scuffed copy of this paperback edition was erroneously listed as a copy of the original 1925 magazine is beyond me, but it strikes me as more careless than malicious. The book has a $1.00 price pencilled on the half title; the $4.39 price I paid included postage. For what it's worth, I did not previously own a copy of the paperback.





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Saturday, November 7, 2020

Groucho Marx's Copy of "The Butter and Egg Man" by George S. Kaufman

"Groucho Marx is the only actor I ever allowed to ad-lib in a show I wrote. That was because I couldn't stop him."
George S. Kaufman on the liner notes of "An Evening With Groucho" (1972)

Frank Ferrante, who provided me with the quotation above, writes about a prized book in his library that once belonged to Groucho Marx:

I have a piece that is particularly special. A 1926 first edition of George S. Kaufman's play "The Butter and Egg Man" [1925]. One of GSK's few solo efforts. Inscribed by George to Groucho. 1925...the year that they collaborated on the Broadway version of "The Cocoanuts." Their first collaboration. Both gents were about 35 years old. (Both wrote pieces for The New Yorker.) Much has been written about their relationship. Many quotes from Groucho referring to GSK as his 'god.' Their synthesis, combined sensibilities, similarities may have shaped and influenced American humor in all media more than any other creative partnership. And still does.

Copyright is 1926. So it was gifted and signed to Groucho during the Broadway run of “The Cocoanuts.” For what it’s worth I portrayed George S. Kaufman and Groucho Marx in one-person stage shows that I also wrote: “By George” and “An Evening With Groucho.”






This book recalls a brief line of Groucho's about Boston that appeared in The New Yorker of April 4, 1925.

Note:  My thanks to Frank Ferrante for going above and beyond

Five years ago, Frank posted different images of this book in The Marx Brothers Council, a private Facebook group. The post may be found here. Members of the group may access this post including the discussion.

Images of items personalized by the hand of George S. Kaufman or Groucho Marx would be considered welcome contributions to future Attempted Bloggery blog posts.

My post from 2015 about The New Yorker's seventh issue (April 4, 1925) is in the archives here.


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Wednesday, February 15, 2017

The New Yorker Prospectus

THE NEW YORKER will be a reflection in word and picture of metropolitan life. It will be human. Its general tenor will be one of gaiety, wit and satire, but it will be more than a jester. It will be not what is commonly called sophisticated, in that it will assume a reasonable degree of enlightenment on the part of its readers. It will hate bunk.

So opens Harold Ross's 1924 prospectus for The New Yorker, which was to first hit newsstands this week in 1925. Note that Rea Irvin's famous magazine logo was already finalized and Irvin is listed among the fledgling magazine's ten advisory editors. The prospectus is most famous, though, for its concluding paragraph;

THE NEW YORKER will be the magazine which is not edited for the old lady in Dubuque. It will not be concerned in what she is thinking about. This is not meant in disrespect, but THE NEW YORKER is a magazine avowedly published for a metropolitan audience and thereby will escape an influence which hampers most national publications. It expects a considerable national circulation, but this will come from persons who have a metropolitan interest.

Would you invest in the New Yorker in 1924? Or might you be dissuaded by that talk of the old lady in Dubuque? Today, would you invest in a nice copy of the 1924 prospectus? One in very good condition was sold last year on eBay:

eBay Listing ended March 4, 2016


eBay Item Description


eBay Bid History
Two fairly lackluster bids



More readable scans of the prospectus are published on Magazine History:  A Collector's Blog.
http://magazinehistory.blogspot.com/2009/02/harold-ross-and-new-yorker.html





Note:  You're in luck! You now have enough information to spot the inside joke on my Twitter profile.


Quick Links to Attempted Bloggery's Archives
Harold Ross
Rea Irvin
The Old Lady in Dubuque

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Saturday, November 12, 2016

Mary Astor's Purple Diary Signed by Edward Sorel

Last month I attended a book launch event at the Corner Bookstore in Manhattan for Mary Astor's Purple Diary by Edward Sorel. Mr. Sorel related the story of Mary Astor and how he learned of her now-forgotten sex scandal of 1936. George S. Kaufman, John Barrymore, and Samuel Goldwyn are among those figures involved. After his talk he signed copies of the book.

The Corner Bookstore October 21, 2016 event

Inscribed "For Stephen, With every good wish/Edward Sorel"

Mary Astor's Purple Diary by Edward Sorel


Image added November 14, 2016



Note:  Of the several books featured on this blog that Edward Sorel has signed, all are inscribed, but none have original drawings. I would like to hear from anyone fortunate enough to own an original Sorel drawing in a book, if such a thing exists. As with other New Yorker artists, original drawings published and otherwise are welcome here as well. Help me meet my content quota.

The last time I attended an event at the Corner Bookstore, I met Thomas Vinciguerra. Read all about it.


Attempted Bloggery's essential links:



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Tuesday, October 13, 2015

License Plate for Captain Spaulding

The Yiddish word shnorrer refers to a moocher or sponger. It is used pejoratively to denote a cheapskate who borrows money and does not intend to return it. The word famously appears in "Hooray for Captain Spaulding" in the Marx Brothers movie "Animal Crackers" (1930) and before that in the Broadway stage musical of the same name. I apologize for my filthy windshield.
"SHNORER"
New Jersey license plate


"Hello, I Must be Going" and "Hooray for Captain Spaulding"
from "Animal Crackers" (1930)
Groucho Marx as Captain Spaulding
Margaret Dumont as Mrs. Rittenhouse
Zeppo Marx as Horatio Jamison
Written by Bert Kalmar, Harry Ruby, and George S. Kaufman
Songs by Bert Kalmar and Harry Ruby
Directed by Victor Heerman



Note:  I ask you, how many blogs can give you posts about both license plates and Groucho Marx?

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Monday, September 28, 2015

Al Hirschfeld and the Vicious Circle

In 1951, Margaret Case Harriman, the daughter of the Hotel Algonquin's Frank Case, published The Vicious Circle:  The Story of the Algonquin Round Table. The Algonquin's celebrated wits were illustrated by the great Al Hirschfeld. These scans from an author-inscribed copy of the book were taken by Stephen Kroninger.
Al Hirschfeld
The Vicious Circle:  The Story of the Algonquin Round Table, 1951
by Margaret Case Harriman, front cover

Scan by Stephen Kroninger
Image added August 22, 2021




Host Frank Case is illustrated over a copy of the dinner menu at the Algonquin.
Frank Case

It's a man's world, but Dorothy Parker knows the way in.
Dorothy Parker

An unusual double portrait:
George S. Kaufman, Edna Ferber

Heywood Broun takes his work home with him.
Heywood Broun

Are there two sides to Alexander Woollcott?
Alexander Woollcott

Columnist Franklin P. Adams, or FPA., writes "The Conning Tower."
Franklin P. Adams

Bob Benchley in the spring...
Robert Benchley

The New Yorker's editor Harold Ross (as we saw here yesterday)...
Harold Ross

Trio:
Robert Sherwood, Irving Berlin, Marc Connelly

Progressive but understated:
Ruth Hale, Jane Grant

Author and dog lover:
Robert Frank
Author photo of Margaret Case Harriman and Topper.
The Vicious Circle: The Story of the Algonquin Round Table, 1951, back cover




Note:  Once again, all artwork from The Vicious Circle is © by the Al Hirschfeld Foundation. My thanks to Stephen Kroninger for permission to use his scans of the book. Tomorrow evening, September 29 at 6:30, he will participate in a panel discussion entitled "The Hirschfeld Century Speaks" at the Art Students League in Manhattan. Joining him on the panel will be Ken Fallin, Drew Friedman, and Bill Jacklin, while David Leopold, the Creative Director of the Al Hirschfeld Foundation, will be the moderator.

Have you seen "The Hirschfeld Century" at the New-York Historical Society? It's a stunning exhibition, but it will close October 12. Don't miss it.

Follow the aqua links to more of my Attempted Bloggery posts about the Algonquin Round Table including host Frank Case and members Franklin P. Adams (FPA), Irving Berlin, Robert Benchley, Heywood Broun, Marc Connelly, Edna Ferber, George S. Kaufman, Dorothy Parker, Harold Ross, and Alexander Woollcott. There's also more in the archives about author Margaret Case Harriman and of course illustrator Al Hirschfeld.

Let's not forget back cover portrait photographer Robert Frank.

My table at the Algonquin? It's in the boiler room.

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Sunday, April 26, 2015

Al Hirshfeld: The Algonquin Round Table

If you'd like to glimpse some of New York's literary lights of the 1920's you can't do better than this. Al Hirschfeld's famous lithograph of the Algonquin Round Table is a classic image of the celebrated literary lunchtime crowd. Present are Alfred Lunt and Lynn Fontanne, Broadway stars seated at the back, Frank Crowninshield, standing, and host Frank Case, also standing. Seated clockwise from the left are Dorothy Parker, Robert Benchley, Alexander Woollcott, Heywood Broun, Marc Connelly, Franklin P. Adams, Edna Ferber, George S. Kaufman, and Robert Sherwood. The original drawing is similar, but it had a different background. The name of Hirschfeld's daughter Nina is hidden once in the image.

People came and went at the Round Table, so not all of the members are depicted. Not present here, sadly, is Harold Ross, founding editor of the New Yorker. Neither is Harpo Marx, Broadway star along with his brothers before they became movie stars. Writer Frank Sullivan isn't around either. Neither are Deems Taylor or Tallulah Bankhead. Still, it's probably as good a lunchtime crowd as you're going to find anywhere. The original lithograph is available from the Margo Feiden Galleries.

Me, I eat alone at my desk.

Al Hirschfeld, The Algonquin Round Table, lithograph, edition of 110

Al Hirschfeld, The Algonquin Round Table, lithograph, edition of 110

EBay Item, April 2015
EBay Item Description
The original drawing differs from the lithograph in some of the background details. 
Al Hirschfeld, The Algonquin Round Table, drawing


Al Hirschfeld, The Algonquin Round Table, lithograph, edition of 110

Note:  There's more here about the great Al Hirschfeld, a legend in his own right.

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