Social Events in 1920s High Society. By Fish
Social Events in 1920s High Society. By Fish
Fish on theatre, opera, country houses, and the social calendar.
The double-page plates of High Society are organized here into six thematic chapters. This second chapter covers the social calendar — theatre, opera, sporting events, country house weekends — the rituals through which high society performed itself in public.
First published in Vanity Fair between 1914 and 1920. Texts by Dorothy Parker and George S. Chappell.
All pages reproduced from the original book.
Can You Guess Who's on the Stage. Detail from Who's Who in the Audience.
A Pictorial Guide to Life in Upper Circles. Part Two.
This is the second story about Anne Fish’s work, which documents and satirizes high society at the turn of the 1910s to 1920s.
The double-page plates were first published in Vanity Fair between 1914 and 1920 and then re-published in the splendid book “High Society. Hints on how to Attain, Relish – and Survive It. A Pictorial Guide to Life in our Upper Circles.”, published in December 1920.
Any double-page plate focuses on a specific topic, providing a unique, rich lens into American and international high society’s lifestyles of the 1910s and 1920s. Rigorously in ink & pen, these inimitable sketches are completed with entertaining captions.
We grouped the plates into six sections, each on a central topic. This second one is on “Social Events in 1920s High Society”.
The Opening of the Social Season.
How the Members of the Beau Monde Will Spend What Is Left of Their War-time Incomes.
Initially published in Vanity Fair, November 1917.
EXCERPT FROM THE CAPTIONS
THE ART SHOWS.
Below we see the opening of the Vorticist Sculpture Salon, a debauch in marble that always brings out a full quota of the artistic cognoscenti of the town. Bohemia always appears in goodly numbers at these charming little revels in stone.
The extraordinary thing about much of the new sculpture is that it looks like illustrations for those wonderful books on hygiene, in which ladies' are taking their matutinal exercises—by correspondence, of course. Take, for instance, the case of the delicate little gem entitled "Love" in this illustration. Captain De Pluyster who is viewing it in company with his fiancée, Miss Corinna Walpole, is listening to her: "Oh, that's an easy one. I do that twenty times, every morning, just before my bath."
TOPIC LIST:
THE RESTAURANTS
THE HORSE SHOW
THE ART SHOWS
THE FASHION FÊTES
The full text is available in the metadata of the hi-res file in the shop.
EXCERPT FROM THE CAPTIONS
THE ART SHOWS.
Below we see the opening of the Vorticist Sculpture Salon, a debauch in marble that always brings out a full quota of the artistic cognoscenti of the town. Bohemia always appears in goodly numbers at these charming little revels in stone.
The extraordinary thing about much of the new sculpture is that it looks like illustrations for those wonderful books on hygiene, in which ladies' are taking their matutinal exercises—by correspondence, of course. Take, for instance, the case of the delicate little gem entitled "Love" in this illustration. Captain De Pluyster who is viewing it in company with his fiancée, Miss Corinna Walpole, is listening to her: "Oh, that's an easy one. I do that twenty times, every morning, just before my bath."
TOPIC LIST:
THE RESTAURANTS
THE HORSE SHOW
THE ART SHOWS
THE FASHION FÊTES
The full text is available in the metadata of the hi-res file in the shop.
The Opera in Full Blast.
Showing That Things Are Sounding Much as Usual At the Opera This Year.
Initially published in Vanity Fair, January 1918.
EXCERPT FROM THE CAPTIONS
HOME, SWEET HOME.
Below, you will behold a little scene in Pneumonia Alley otherwise known as the lobby of the opera. It is here that all of our best people gather, after the opera, and wait for hours for their flunkeys and limousines. Fashionable personages are really much cleverer than mere people are wont to suppose. After twenty years of hard study, they have finally devised a system by which — after the opera — they can wait around in the lobby for their motors and reach their houses only an hour later than they would if they left by the main door and picked up a passing taxi.
TOPICS LIST:
AN OPERATIC DUET.
HOME, SWEET HOME.
HEARTS AND FLOWERS.
THE SPELL OF MUSIC.
The full text is available in the metadata of the hi-res file in the shop.
EXCERPT FROM THE CAPTIONS
HOME, SWEET HOME.
Below, you will behold a little scene in Pneumonia Alley otherwise known as the lobby of the opera. It is here that all of our best people gather, after the opera, and wait for hours for their flunkeys and limousines. Fashionable personages are really much cleverer than mere people are wont to suppose. After twenty years of hard study, they have finally devised a system by which — after the opera — they can wait around in the lobby for their motors and reach their houses only an hour later than they would if they left by the main door and picked up a passing taxi.
TOPICS LIST:
AN OPERATIC DUET.
HOME, SWEET HOME.
HEARTS AND FLOWERS.
THE SPELL OF MUSIC.
The full text is available in the metadata of the hi-res file in the shop.
Getting On, in Smart Society.
If, at First, You Don't Succeed, Dine 'em and Dine 'em Again
Initially published in Vanity Fair, October 1916.
EXCERPT FROM THE CAPTIONS
HEARTS AND DIAMONDS.
The Higgingbothams were told that they could do nothing without a social secretary. They accordingly engaged Miss Audrey De Vere, a young lady of lineage. Audrey smokes, drinks, and plays "poker": she also knows how to get first-night tickets at the theatres and an outside table at a cabaret. She can mix eleven different kinds of cocktails with only one bottle of gin, one lemon, two bottles of Vermouth and a single olive. She is engaged to a war hero — her vis-a-vis at this table. The dinner has been cleared away and Audrey and her friends have just finished a little session with the cards. Net result: the T. Pennypacker Higgingbothams are minus the value of one small Texas oil well.
TOPIC LIST:
IN THE INTELLECTUAL SET.
HEARTS AND DIAMONDS.
THE RECEPTION COMMITTEE.
THE ATTACK ON BOHEMIA.
SUCCESS AT LAST.
HE'S A JOLLY GOOD FELLOW.
The full text is available in the metadata of the hi-res file in the shop.
EXCERPT FROM THE CAPTIONS
HEARTS AND DIAMONDS.
The Higgingbothams were told that they could do nothing without a social secretary. They accordingly engaged Miss Audrey De Vere, a young lady of lineage. Audrey smokes, drinks, and plays "poker": she also knows how to get first-night tickets at the theatres and an outside table at a cabaret. She can mix eleven different kinds of cocktails with only one bottle of gin, one lemon, two bottles of Vermouth and a single olive. She is engaged to a war hero — her vis-a-vis at this table. The dinner has been cleared away and Audrey and her friends have just finished a little session with the cards. Net result: the T. Pennypacker Higgingbothams are minus the value of one small Texas oil well.
TOPIC LIST:
IN THE INTELLECTUAL SET.
HEARTS AND DIAMONDS.
THE RECEPTION COMMITTEE.
THE ATTACK ON BOHEMIA.
SUCCESS AT LAST.
HE'S A JOLLY GOOD FELLOW.
The full text is available in the metadata of the hi-res file in the shop.
Who’s Who—in the Audience.
Showing That the Smart Playgoer, Not the Smart Play, Is Really the Thing.
Initially published in Vanity Fair, April 1919.
EXCERPT FROM THE CAPTIONS
CAN YOU GUESS WHO'S ON THE STAGE?
You can always tell, by looking at the audience, just who is holding the center of the stage. When the masculine half of the audience occupies itself in reading the corset advertisements in the programmes or in looking restlessly about while the feminine half strains to catch every word—then you can be sure that the marcelled hero, in the jet-buttoned evening clothes, with the velvet collar, is standing in the spotlight and singing, or talking, rhapsodically about the age-old passion of LOVE.
TOPIC LIST:
IT'S ALL IN THE LINES.
CINEMA LOVERS.
CAN YOU GUESS WHO'S ON THE STAGE?
DOUBLE ENTENDRES.
FOR THE CHILDREN’S SAKE.
CAN YOU GUESS WHO'S ON THE STAGE NOW?
The full text is available in the metadata of the hi-res file in the shop.
EXCERPT FROM THE CAPTIONS
CAN YOU GUESS WHO'S ON THE STAGE?
You can always tell, by looking at the audience, just who is holding the center of the stage. When the masculine half of the audience occupies itself in reading the corset advertisements in the programmes or in looking restlessly about while the feminine half strains to catch every word—then you can be sure that the marcelled hero, in the jet-buttoned evening clothes, with the velvet collar, is standing in the spotlight and singing, or talking, rhapsodically about the age-old passion of LOVE.
TOPIC LIST:
IT'S ALL IN THE LINES.
CINEMA LOVERS.
CAN YOU GUESS WHO'S ON THE STAGE?
DOUBLE ENTENDRES.
FOR THE CHILDREN’S SAKE.
CAN YOU GUESS WHO'S ON THE STAGE NOW?
The full text is available in the metadata of the hi-res file in the shop.
Opening of the Opera Season - Blighters at Bridge.
A Terrifying Triumvirate of Familiar Lady Auction Pests.
Initially published in Vanity Fair, August 1920.
EXCERPT FROM THE CAPTIONS
THE POOR, INNOCENT VICTIM.
What type of bridge player is the most spirit-blighting? Some favor the talking player; some the cheat — but we must vote, on every ballot, for the three girlies mirrored on this page. First, there is the creature shown above, who, after losing five rubbers, suddenly registers horror with the orbs, and exclaims in dismay: " Heavens! are we playing for money? I never dreamed of such a thing! I never play for anything!" Note the indifference of the other participants — intensified by financial anguish.
TOPIC LIST:
OPENING OF THE OPERA SEASON.
THE POOR, INNOCENT VICTIM.
THE BLIGHTER, PAR EXCELLENCE.
THE HOODOO-ED DOWAGER
The full text is available in the metadata of the hi-res file in the shop.
EXCERPT FROM THE CAPTIONS
THE POOR, INNOCENT VICTIM.
What type of bridge player is the most spirit-blighting? Some favor the talking player; some the cheat — but we must vote, on every ballot, for the three girlies mirrored on this page. First, there is the creature shown above, who, after losing five rubbers, suddenly registers horror with the orbs, and exclaims in dismay: " Heavens! are we playing for money? I never dreamed of such a thing! I never play for anything!" Note the indifference of the other participants — intensified by financial anguish.
TOPIC LIST:
OPENING OF THE OPERA SEASON.
THE POOR, INNOCENT VICTIM.
THE BLIGHTER, PAR EXCELLENCE.
THE HOODOO-ED DOWAGER
The full text is available in the metadata of the hi-res file in the shop.
Social Superstitions.
With Very Special Obeisances to Cupid.
Initially published in Vanity Fair, October 1920 with title Social Superstitions Lovelorn sketches
EXCERPT FROM THE CAPTIONS
SALT AND BATTERY.
Because Clarice Vanderhoff almost fainted when her fiancé, Teddy Ashhurst, spilled the salt, Ted natural! placated the Unknown Gods by throwing a handful of the offending seasoning over his left shoulder with his right hand. This is undoubtedly very pleasing to the Fates and Goddesses of Chance, but hardly as agreeable to the charming Mrs. Drexel-Drexel who, quite naturally, objects to being salted, like an almond — particularly in public.
TOPIC LIST:
THE SHEEP—AND THE GOAT.
THE SUIT AND THE SUITOR.
THE WORST IS YET TO COME .
SALT AND BATTERY .
THE CROIX DE COUTEAUX .
DANGEROUS DIANA.
The full text is available in the metadata of the hi-res file in the shop.
EXCERPT FROM THE CAPTIONS
SALT AND BATTERY.
Because Clarice Vanderhoff almost fainted when her fiancé, Teddy Ashhurst, spilled the salt, Ted natural! placated the Unknown Gods by throwing a handful of the offending seasoning over his left shoulder with his right hand. This is undoubtedly very pleasing to the Fates and Goddesses of Chance, but hardly as agreeable to the charming Mrs. Drexel-Drexel who, quite naturally, objects to being salted, like an almond — particularly in public.
TOPIC LIST:
THE SHEEP—AND THE GOAT.
THE SUIT AND THE SUITOR.
THE WORST IS YET TO COME .
SALT AND BATTERY .
THE CROIX DE COUTEAUX .
DANGEROUS DIANA.
The full text is available in the metadata of the hi-res file in the shop.
