Tag Archives: Sunset Magazine

1920 magazine covers bring late winter cheer

When I picked up my mail after arriving in D.C. from Cape Town a couple of weeks ago, I found to my surprise that I have been a New Yorker subscriber since September. My first reaction: “Oh, look, a giant pile of guilt!” Then I saw the brightly colored covers, and I wanted to gather them all in a slippery embrace, like fellow survivors from a lost world. Few things from 100 years ago bring me as much joy as magazine covers, and few things (well, few non-news-related things) are as dispiriting as a 2020 magazine rack.

I had a post on February 1920 covers almost ready before I left Cape Town, but what with all the electricity cuts I didn’t manage to post it. So I’m covering both February and March here.

The February magazines feature lots of women engaging in wholesome outdoor activities like skiing,

Country Life magazine cover, February 1920, woman skiing.

Edwin Wilson

snowshoeing,

and pathetic ice skating.

Norman Rockwell cover, Saturday Evening Post, February 7, 1920

Norman Rockwell

And also engaging in unwholesome outdoor activities like this:

Warren Davis March 1920 Vanity Fair cover, naked woman walking into the ocean.

Warren Davis

The artist for this surprisingly risqué cover is Warren Davis. He also drew this February 1918 Vanity Fair cover,

which I took note of back in February 2018. That one was also daring, but it struck me as having that Greek mythology vibe that lets you get away with anything. It turns out, though, that young women cavorting around outdoors naked, or at most with a diaphanous scarf, comprise pretty much Warren Davis’ entire oeuvre.*

Some favorite artists are back: Frank Walts at The Crisis,

Frank Walts The Crisis cover, February 1920, drawing of African-American boy.

Frank Walts

Helen Dryden at Vogue,

Helen Dryden Vogue cover, February 15, 1920, woman looking in mirror.

Helen Dryden

A.M. Hopfmuller at Shadowland,

A.M. Hopfmuller February 1920 Shadowland cover, abstract landscape.

A.M. Hopfmuller

and, as always, Erté at Harper’s Bazar.

Erté February 1920 Harper's Bazar cover, woman in gown on beach.

Erté

There’s a Valentine’s theme at Red Cross

Red Cross magazine cover, February 1920, dog carrying Valentines.

(Google/HathiTrust)

and at Smart Set, which I’m pleased to see breaking out of its face-of-young-attractive-woman rut.

There are people in traditional dress at Sunset

Sunset magazine cover, February 1920, woman in traditional Spanish-Mexican dress.

and Liberator

Hugo Gellert

and World Outlook.

I loved these covers from House & Garden

Charles Livingston Bull House & Garden cover, February 1920.

Charles Livingston Bull

and Popular Mechanics

February 1920 Popular Mechanics cover, vehicles transporting houses and stores.

and Elite Styles.

February 1920 Elite Styles cover, woman in gown in room.

As I prepared for my trip, I was all psyched up to leave the southern hemisphere summer for some outdoor winter fun. Of course, what I actually ended up doing was lugging groceries home in the rain. So good riddance to February…

…and onward to blustery March!

St. Nicholas cover, March 1920, young man and women in wind.

(Google/HathiTrust)

Woman's World cover, February 1920, children struggling with kite.

They’re getting in some late-season ice skating at Red Cross**

Norman Rockwell Red Cross cover, couple skating.

Norman Rockwell

and some early-season boating at Motor Boating.

Motor Boating cover, March 1920, woman in pink coat steering wheel of boat.

Am I reading this wrong or is this elephant being used as an accessory to kill other elephants?*** And don’t get me started on the African man in the loincloth.

Popular Mechanics cover, March 1920, elephant hunt.

Everybody’s is late to the Valentine’s Day party.

Everybody's magazine cover, March 1920, soldier with cupid in helmet.

Vogue has a cover by regular George Wolfe Plank

George Wolfe Plank Vogue cover, March 1, 1920, flapper on bed.

George Wolfe Plank

and one by 26-year-old newcomer Harriet Meserole, who would go on to be a Vogue stalwart.****

Vogue cover, March 15, 1920.

Harriet Meserole

Bright spring colors abound at Harper’s Bazar

Erte Harper's Bazar cover, March 1920, Erte.

Erté

and The Delineator

Delineator cover, March 1920, woman in cape.

and The Green Book

Green Book cover, March 1920.

and House & Garden

Harry Richardson House & Garden cover, March 1920, house with path and flowers.

Harry Richardson

and Shadowland

A.M. Hopfmuller Shadowland cover, March 1920.

A.M. Hopfmuller

and Vanity Fair, which features a cover by Anne Harriet Fish, an artist whom I wasn’t familiar with but who will now join Gordon Conway and John Held Jr. in the ranks of VF artists whose work I can’t tell apart.

Anne Harriet Fish Vanity Fair cover, March 1920, couples dancing.

Anne Harriet Fish

Future New Yorker cartoonist Rea Irvin was the artist for this striking, though problematic to modern sensibilities, Life cover.

Rea Irvin Life magazine cover, March 1920.

Rea Irvin

This woman on the cover of the Saturday Evening Post seems to be about to ditzily cast her first vote for the supposedly more handsome candidate, which I would take offense at, except, um, Warren Harding.*****

Neysa McMein Saturday Evening Post cover, March 6, 1920.

Neysa McMein

The woodcut on the cover of Liberator is by J.J. Lankes, who was a friend of, and illustrator for, Robert Frost and Sherwood Anderson.

J.J. Lankes Liberator cover, March 1920, woodcut of horse and cart.

J.J. Lankes

This Photoplay cover isn’t particularly notable except that “If Christ Went to the Movies” is the best cover headline ever.******

Rolf Armstrong Photoplay cover, March 1920, Alice Joyce.

Rolf Armstrong

And it wouldn’t be March without a lion and a lamb, courtesy of Carton Moore-Park:*******

Carton Moore-Park Ladies' Home Journal cover, March 1920, lion and lamb with astrological signs.

Carton Moore-Park

Counting the days until spring!

squiggle

*Google him if you don’t want to take my word for it. Just don’t do it at the office.

**According to the go-to site for Norman Rockwell cover information, this was Rockwell’s fourth and last cover for Red Cross, which folded in late 1920. Rockwell turned to smaller magazines when large-circulation magazines passed on his illustrations.

***I always thought you couldn’t ride African, as opposed to Asian, elephants. Apparently you can, although, according to animal rights advocates, you shouldn’t.

****As far as I can tell, this is Meserole’s first Vogue cover other than this February 1919 one, which is mostly white space:

Harriet Meserole Vogue cover, March 15, 1920

*****Also, the cover artist, Neysa McMein, was a woman and an ardent supporter of gender equality. Here she is marching in a suffragist parade in 1917.

Neysa McMein marching in a suffragist parade, 1917.

New York Times, November 4, 1917

******Excerpt:

Excerpt from March 1920 Photoplay article "If Christ Went to the Movies."

*******Moore-Park also drew the “is it a lady or a parrot?” August 1919 LHJ cover.

Carton Moore-Park August 1919 Ladies' Home Journal cover, parrot looking at caterpiller.

Divorce with a happy ending: a daring 1918 essay

During Women’s History Month, I’ve been thinking a lot about the forgotten women of 1918—not the ones we celebrate for changing the world, but the ones who changed the world just by the way they lived their lives.

Sunset magazine cover, February 19, woman holding a basket of oranges.

Sunset, February 1918

One of my favorite women of 1918 didn’t even leave her name behind. All she left is a two-part unsigned article in the January and February 1918 issues of Sunset magazine called “My Encounter with Divorce and Drink.”

Divorce was on the rise, but the idea of ending a marriage because of incompatibility was controversial. A family court judge, writing in Woman’s Home Companion in 1916, told of a “hysterical young wife” who came to the court asking for a divorce. Her husband had been drinking and staying out all night and had threatened to strike her. It turned out, though, that once she stopped her nagging he became a model spouse. The judge wrote that “if young wives, beginning to fret about incompatibility, were to take stock of the things they do to irritate their husbands…then about three fourths of the divorce courts would go out of business.”

Sunset magazine article headline, Incompatibility, Your Honor, May 1916.

Sunset, May 1916

Our Sunset narrator has a different take.

I married young. And I married a good man (a very good man) fifteen years older than myself. And oh! how proud I was to have attracted a man of the assured position, both business and social, which my husband possessed.

Differences quickly arose, though.

He was for that old, established order of “corruption and contentment.” And I was a radical! Oh! those were a few of the differences. They were the surface differences. The others were deeper.

Sunset magazine cover, January 1918, two women looking worriedly into chrystal ball that says 1918.

Sunset, January 1918

The problem, she says, was with the “old marriage platform” itself.

My husband’s mentality did not—could not—dominate mine. Mind you, I do not say that mine was the superior mentality. But then, neither was his. And, because he was a man and I was only a woman, he could not recognize my individual right to be a personal entity, entirely disassociated from him on the mental plane.

It wasn’t a case of right or wrong, she says; they were just wrong for each other.

He should have married a woman who would sing in the choir, go to Wednesday evening prayer meetings, belong to the Ladies’ Aid and Missionary Society, and, as a violent dissipation, play euchre (for a prize!!) one evening every two weeks with a lot of others of the same ilk.

Photograph of people playing cards in a parlor in about 1906.

Playing Cards at the Parlor Table, ca. 1906 (Library of Congress)

She suffered through many of these euchre games herself.

They didn’t even play euchre intelligently, these women. But the men played it with an abandoned recklessness and a superb dash that clearly demonstrated the latent strain of “gay dog” that lay sleeping in each breast.

They had two children, but neither survived. If they had, she says, she would have stayed in the marriage, no matter how much it stifled her. She raged silently when her neighbors spoke of “God’s will.”

God’s will! To torture two innocent, beautiful, trusting little children! I would have them in no heaven presided over by such a Deity!

Then her husband met another woman.

Just the right woman for my husband. I knew it before he did. I watched his need for her and her love for him grow. Before they knew it—the blessed innocents—I was thanking the Fates for it.

Church choir singing in front of church window, ca. 1918.

Church choir, ca. 1910

She is such a nice little thing; although older than I, still she was always a “little thing” to me. Gay and bright, with a sweet soprano that has been leading the “hallelujas” for many a year now, in another small-town choir.

And so they went their separate ways.

I never so appreciated my husband’s generosity, his patience, his real, strong sweetness of disposition, as when we parted. I was never so genuinely fond of him, so grateful for his forbearance (and he needed lots, to live with me) so clearly aware of his many sterling qualities, nor so happy, as when we said “goodby” and I went quietly away and “deserted” him.

She suspects that her husband finds life a little dull without the “ginger which I furnished in his life.” But she knows that he’s happier now.

Bohemian gathering in Greenwich village, 1910s.

Bohemian gathering, Greenwich Village, 1910s (New York Historical Society)

And isn’t it funny? They both admire me tremendously. They come, once in a while to visit me. They meet my friends. And get dizzy drunk with the rare, vivified atmosphere of brains which my friends generate. And they are as proud as Punch of me because I enjoy that sort of thing. They think I am wonderfully “advanced.”

 After they make me a little visit, they go home again, quite satiated, to peace, and repose.

 As she concludes her story, she says,

Divorce, to you reading this, may be all wrong. Surely, then, it is wrong for you. For me it happened to be right.

After the divorce, she threw herself into her career for a few years, and then she met another man. He was a drinker, and the second installment tells of how, with her help, he reformed.

Sunset magazine headline and story text, My Encounter with Divorce and Drink, February 1918.

Sunset, February 1918

But, to me, the more compelling part of her story, and the part that I’m glad that readers of 1918 had a chance to read, is about the marriage that didn’t survive—not because of abuse, or liquor, or infidelity, but because two nice people turned out to be wrong for each other.

And about how, having left the marriage, they each found a happy ending.