Showing posts with label racism. Show all posts
Showing posts with label racism. Show all posts

Friday, June 30, 2023

Peter Arno: Romancing the Natives

On June 15, Swann Galleries sold two preliminary drawings by The New Yorker's Peter Arno. Neither is signed, but both are unmistakably the master's work. Swann's listing states, "He probably submitted them to the editors as initial ideas for cartoons, but apparently never followed through on them." Except that he did follow through, at least on one of them.

Arno's first sketch in the listing has an oval border and depicts a fully dressed white man in the embrace of two young Polynesian women wearing only grass skirts and flowers in their hair. They are reclining very publicly in an elevated hut, his pith helmet resting on the floor in front of the young women. Their arms are wrapped around him affectionately. A group of native men observe the scene in consternation. One, mostly out of the frame, is pointing out the objectionable behavior.

This sketch has no caption but was apparently meant to find humor in the jealousy of the men. The idea evolved, perhaps with editorial assistance, and went in a somewhat different direction when it was published in 1938 in The New Yorker. The man is now addressed by one of his fellow explorers with, "But, Professor, remember the thousands of little school children who gave their pennies to send us on this expedition." Visually, Arno's instincts did not serve him well here. He abandoned the depiction of tenderness that made the preliminary sketch so memorable and further objectified the women, who are now African and fully naked except for their neck rings.
"But, Professor, remember the thousands of little school children
who gave their pennies to send us on this expedition."
Peter Arno
The New Yorker, October 8, 1938, p. 16 



This sort of gag cartoon was a popular trope which today strikes us as sexist and racist, but was widely accepted in American print media in the 1930s. The drawing was collected in 1945 in The Peter Arno Pocket Book without an apparent second thought.
"But, Professor, remember the thousands of little school
children who gave their pennies to
send us on this expedition."
Peter Arno
The Peter Arno Pocket Book (1945)




The second Arno rough shows three performers backstage at a vaudeville or variety show peeking through the curtains, probably with varying degrees of anxiety, at a laughing audience. It might have been a study for a New Yorker spot, or a cover, or perhaps a cartoon. It does not have, or seem to require, a caption. Arno may or may not have worked this idea up further. 



Both drawings together had a presale estimate of $600 to $900. They sold for a hammer price of $500, or for $625 with the buyer's premium.

Incidentally, on the page opposite Arno's cartoon in The New Yorker is an outstanding short piece, "The Letters of James Thurber." You can read it in its entirety right here and, no doubt, guess the identity of the author who here goes by Anon.
A cartoon by Peter Arno and "The Letters of James Thurber" by "Anon"



July 12, 2024 Update:  Peter Arno's original art has come to light.

"But, Professor, remember the thousands of children who gave their pennies to send us on this expedition."
Peter Arno
Original art
The New Yorker, October 8, 1938, p. 16 


The typed caption is affixed to the art.



Note:  Unpublished work by Peter Arno isn't so easy to come by but for anyone who does, you're looking at a blog that can publicize it.




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Sunday, April 30, 2023

Mischa Richter on the Silk Trade

The Japanese silk boycott of 1937-1940 was a protest against Japan's invasion of China. In the Marxist periodical New Masses of July 11, 1939, Mischa Richter draws a fashionable Western woman aiding Japan through her continued support of the silk trade. The grotesque caricature of Japan is heavily armed with both traditional and modern weapons, his shoes are spiked, and his cloak is patterned in swastikas, just in case you don't get the message. The Japanese figure has more of a skull than a living head. Contrast his depiction with that of the pretty, coiffured white woman in silk stockings.




Tear sheet

Mischa Richter
eBay listing accessed April 29, 2023


Mischa Richter
eBay item description



May 8, 2023 Update:  Sold!

Mischa Richter
eBay bid history
Three of the five bids came in the final thirteen seconds.





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Sunday, February 6, 2022

Otto Soglow for Penn Maryland Whiskey

After Peter Arno's advertisement for Penn Maryland Whiskey's "Gentlemen Prefer Blends" campaign, cartoonist Otto Soglow had his own variation on the theme. Soglow's six-panel cartoon appeared as a full page ad in The New Yorker issue of April 20, 1935. It also was published in the old Life magazine for June 1935.
Penn Maryland Blended Whiskey
Otto Soglow
The New Yorker, April 20, 1935, page 67



The cartoon is blatantly racist, and sexist to boot. Today we are sensitive to the offensiveness and downright wrongness of such racial caricatures, but clearly this wasn't always the case. The subservient black man depicted here, whether slave or servant, is an example of the the sort of overtly racist cartoon that can be found at least through the 1950s in mainstream American media. Demeaning racial imagery was published apparently without objection from advertisers, editorial staff, and the reading public, but that doesn't excuse it. Rather, it demonstrates just how widespread the acceptance of such images was at the time, at least among white Americans.
Humorous verse by Gustave Lobrano and an advertisement by Otto Soglow



Note:  Other than Peter Arno and Otto Soglow, I know of no other cartoonists contributing to the "Gentlemen Prefer Blends" ad campaign for Penn Maryland Whiskey, but I am eager to learn of any other artists I possibly may have missed. Also, if Soglow's ad was published anywhere in addition to The New Yorker and Life, I'd like to know about it.



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Sunday, March 29, 2020

Irving Phillips: The Old Switcheroo

An April 1937 Esquire cartoon is set in a maternity ward, but don't expect any sentiment on that score. The gag by Irving Phillips is wrong on so many levels. For openers it is racist, it is misogynistic, and it is simply not funny.
"We're going to April Fool our husbands[.]"
Irving Phillips




Note:  This is the first appearance of
 Irving Phillips on Attempted Bloggery. His Wikipedia page notes, "He eventually became head of the humor staff for Esquire in the late 1930s." Hard to believe.




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Tuesday, March 17, 2020

Blog Post No. 3200: St. Patrick's Day 1938—Will Cotton Original New Yorker Cover Art


A number of the covers—Irvin's of 3/31/34 and 11/21/36, Cotton's of 3/19/1938—would certainly be considered unprintably racist now...
—John Updike
The Complete Book of Covers from The New Yorker 1925-1989 


Will Cotton's 
New Yorker cover for St. Patrick's Day of 1938 is one of the magazine's most notorious. An Irish police officer encounters a drunken black man who passed out on the steps of a brownstone while still wearing his St. Paddy's Day regalia, an empty bottle resting between his legs. Lee Lorenz commented on it in 1997 when he was the magazine's cartoon editor:


Will Cotton's covers, skillfully executed in pastel, are memorable for their elegance and gentle wit. He was a gifted caricaturist, and his portraits of people were always warm, never grotesque. In contrast, the cover accompanying this article, which depicts an Irish cop looking at a homeless black man (3/19/38), manages to abuse both the Irish and blacks.
—Lee Lorenz
The New Yorker, "Cover Stories"
December 15, 1997, p. 124


I don't know whether the black man is indeed homeless or simply unable to make it to his home while under the influence. The cover derives its humor from unfortunate racial stereotypes rendered in rich pastels. The original art, now on the market, shows Cotton's beautiful rendering of a not-so-beautiful subject to be very well-preserved.
Will Cotton
Original art
The New Yorker,
 March 19, 1938


Cotton's gift inscription to illustrator R. Roberts Baldwin directly on the cover art doesn't in any way diminish the political incorrectness of the whole affair. It does seem to imply that "Baldy" was the model for the Irish cop.
Inscribed [to R. Roberts Baldwin] "To Baldy (the figure on the
                                                                left)
from               
W. Cotton"

Will Cotton's signature

Will Cotton
The New Yorker, March 19, 1938


The original art is offered by Between the Covers of New Jersey for $22,000. The rare book dealer's description of the item, which includes a more extended quotation from Lee Lorenz, is well worth reading.
Will Cotton
AbeBooks Listing Accessed February 22, 2020


Note:  One thing we like here at Attempted Bloggery is original cover art from the New Yorker magazine. New examples are welcome. Feel free to share any you might have lying about. The other thing we like is corned beef and cabbage.


Can this 3,200th post really be the first opportunity here to mention the art of Will Cotton? How on earth did that happen? The original art remains available for sale at the time of this posting.



The Attempted Bloggery Centennial Posts
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Blog Post No. 100
Blog Post No. 200:  A Shaggy Dog Story

Saturday, May 18, 2019

Robert Day for Pepsi-Cola

In the 1940s as America entered the postwar period, Pepsi-Cola's advertising included radio jingles, skywriting, and a vigorous print campaign using a number of popular cartoonists. There was an extended series of print ads by New Yorker cartoonist Robert Day which echoed Pepsi's radio and skywriting promotions while also reflecting many of the extensive social and political changes taking place in the world. These ads appeared in Time, The New Yorker, and no doubt other publications. But first off, here are two examples of the jingle, which is referenced in more than one print ad:

"Pepsi-Cola Hits the Spot"
Radio ads from 1939 and 1950 with the jingle


American troops liberating a European village are greeted with the unlikely news that the populace is familiar with the Pepsi-Cola jingle.
"They want to know if we've got any Pepsi-Cola. Seems they heard the Pepsi-Cola jingle on the underground radio."
Robert Day
Pepsi-Cola advertisement
1944


Postwar inflation was a real concern, but Pepsi could boast that its price was a stable five cents.
"No doubt about his ceiling prices being posted."
Robert Day
Pepsi-Cola advertisement
1944


Victory Gardens allowed citizens to grow extra produce locally. Robert Day's ad suggests vegetables could be bartered for ice cold Pepsi-Cola. 

"Since Joe put up his stand, the Victory Gardens are booming."
Robert Day
Pepsi-Cola advertisement
1944

Detail


When caddies are in short supply, golf clubs are expendable but Pepsi-Cola is not.

"They could only get 4 boys—so J.V. said the heck with his golf clubs."
Robert Day
Pepsi-Cola advertisement
1944



The 1944 Presidential election pitted incumbent Democrat Franklin D. Roosevelt against Republican Thomas E. Dewey, both New Yorkers. The words to Pepsi's jingle may be spotted on a convention sign. Was either convention this unconventional?
"...It was his postwar plank of plenty of Pepsi-Cola for everybody, that touched off the demonstration."
Robert Day
Pepsi-Cola advertisement
1944


A 1945 wartime ad, no doubt meant for national consumption, suggests a midnight curfew in New York City. But Sam Roberts, writing in 1995 for the Times, noted, "The national curfew was midnight, but Mayor La Guardia insisted that New Yorkers be allowed to drink, legally, until 1 A.M."
"Have we time for a couple of Pepsis before the curfew?"
Robert Day
Pepsi-Cola advertisement
1945


Image added May 19, 2019

Enough Pepsi could calm the populace, although one shipload might not be enough:
"If we only had two shiploads of Pepsi-Cola we could stop all this unrest."
Robert Day
Pepsi-Cola advertisement
1945

Image added May 19, 2019

Pepsi worked hard to get its name displayed in the air and the print ads reflect this major aspect of the soft drink's promotion. The source for this ad says it appeared in Ebony, which would date it to the end of 1945 or later. More concerning, the ad contains racial caricatures, yet it was deliberately marketed to the black community. That seems seriously misguided at best.
"That means mission successful—ice the Pepsi-Cola."
Robert Day
Pepsi-Cola advertisement

Ebony, 1945 or later



Day's art allows us to envision the mass-caffeination of an entire factory.
"Now watch our production jump."
Robert Day
Pepsi-Cola advertisement
1945





The postwar housing shortage was serious, but perhaps it could have a cola-infused bright side. The bishop's crook lamppost leaves  no doubt that we are looking at New York City. (It's visible in the ceiling prices and curfew drawings above as well.) Pepsi was based in Long Island City.
"What do we care if we have to move in with four or five
other families[?] Look how convenient it is."

Robert Day
Pepsi-Cola advertisement
Time, June 3, 1946, page 37


"Many cities vied for the honor of hosting the UN Headquarters site, prior to the selection of New York City. The selection of the East River site came after over a year of protracted study and consideration of many sites in the United States."


"Come, come, gentlemen! At this rate we'll never find a U.N. site."
Robert Day
Pepsi-Cola advertisement
Time, November 18, 1946, page 39



The jingle "Pepsi-Cola Hits the Spot" features prominently in this Time magazine ad. Readers presumably would have been familiar with it.
"Henry says that's the only good news on the radio these days."
Robert Day
Pepsi-Cola advertisement

Time, January 20, 1947, page 39


Jingle diplomacy:
"Then it was my turn, and since my repertoire was completely exhausted, the only genuinely American song I could think of was 'Pepsi-Cola Hits the Spot!' which they applauded as loudly as the others, although they said such a wine was unknown in Kazakstan, and inquired from what grape it was made."
Robert Day
Pepsi-Cola advertisement

Text from W. L. White, Report on the Russians, Harcourt, Brace and Company, page 211.


Skywriting diplomacy:
"Look, Ivanovitch, the American Delegation is arriving!"
Robert Day
Pepsi-Cola advertisement

Time, March 10, 1947, page 35


Luxury travel requires a luxury beverage.
"The railroads are certainly going after business these days."
Robert Day
Pepsi-Cola advertisement

Time, August 4, 1947, page 25

The skywriter up close:
"...she's jet propelled—does 604 an hour and writes Pepsi-Cola in eight foreign languages."
Robert Day
Pepsi-Cola advertisement
Time, October 27, 1947, page 41


The Queen Mary stocks up on high-end goods:
"Now I know why they say everyone travels first class on her."
Robert Day
Pepsi-Cola advertisement

Time, November 24, 1947, page 41

Trains, cruise ships, airplanes, and now helicopters feature in these Pepsi ads. Curiously, Day's bold inking gives unusual prominence to an onlooker's bald spot. It's not an accident; he does something similar in the following three ads as well.
"That's what I call smart merchandising."
Robert Day
Pepsi-Cola advertisement

1947
in Bryan Holmes, Advertising: Reflections of a Century
(London:  William Heinemann, Ltd., 1982)


In 1947, there was a new angle to the office Christmas bonus.
"...and in addition to your bonus checks, on account of the many deductions for taxes, social security, etc., etc."
Robert Day
Pepsi-Cola advertisement

Time, December 22, 1947


Round table diplomacy:
"The Ambassador says his country will settle for 12 cases of Pepsi-Cola."
Robert Day
Pepsi-Cola advertisement
c. 1954





"...he's the editor of 'Gourmet Magazine'."
Robert Day
Pepsi-Cola advertisement

The New Yorker, 1950s


Note:  There could easily be dozens of other Pepsi ads by Robert Day. Readers with access to any of these, or with better scans of the ones shown here, may send them in for inclusion in this post. Needless to say, original advertising art from this campaign would also be welcome.


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