1910 1st NEW YORK SOCIETY ON PARADE Critical of Rich Wealth Money Class Pulitzer
1910 1st NEW YORK SOCIETY ON PARADE Critical of Rich Wealth Money Class Pulitzer
1910 1st NEW YORK SOCIETY ON PARADE Critical of Rich Wealth Money Class Pulitzer
1910 1st NEW YORK SOCIETY ON PARADE Critical of Rich Wealth Money Class Pulitzer
1910 1st NEW YORK SOCIETY ON PARADE Critical of Rich Wealth Money Class Pulitzer
1910 1st NEW YORK SOCIETY ON PARADE Critical of Rich Wealth Money Class Pulitzer
1910 1st NEW YORK SOCIETY ON PARADE Critical of Rich Wealth Money Class Pulitzer
1910 1st NEW YORK SOCIETY ON PARADE Critical of Rich Wealth Money Class Pulitzer
1910 1st NEW YORK SOCIETY ON PARADE Critical of Rich Wealth Money Class Pulitzer
1910 1st NEW YORK SOCIETY ON PARADE Critical of Rich Wealth Money Class Pulitzer
1910 1st NEW YORK SOCIETY ON PARADE Critical of Rich Wealth Money Class Pulitzer
1910 1st NEW YORK SOCIETY ON PARADE Critical of Rich Wealth Money Class Pulitzer
1910 1st NEW YORK SOCIETY ON PARADE Critical of Rich Wealth Money Class Pulitzer


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Book Title:New York Society On Parade
Ex Libris:No
Book Series:n/a
Narrative Type:Nonfiction
Original Language:English
Publisher:Harper
Inscribed:No
Intended Audience:Adults
Edition:First Edition
Personalize:No
Publication Year:1910
Type:Narrative
Format:Hardcover
Language:English
Author:Ralph Pulitzer,Howard Chandler Christy
Features:Illustrated
Genre:History,Sociology,Society
Country/Region of Manufacture:United States
Topic:New York City,Society

Title: New York Society On Parade Author: Ralph Pulitzer illustrations by Howard Chandler Christy Publisher: Harper & Bros. (1910) Description: Talk about biting the hand that feeds you. Ralph Pulitzer son of famous publisher Joseph Pulitzer writes about “the 400” – the rich of New York and their world and it is not a very flattering look at the moneyed class of New York. At the tail end of the Gilded Age in the late 19th and early 20th century the divide between have’s and have not’s was even greater than it is today. Pulitzer’s commentary is filled with insight and pointed commentary. With terrific illustrations by the great Howard Chandler Christy – the book is a compelling commentary on the wealthy (which Pulitzer with his own wealth kind of belonged to, yet disdained) and the people who inhabit that exclusive world. After the terms of auction is a brief biography of Howard Chandler Christy. To give you an idea of the content I’m reproducing two book reviews from 1910 one a good review; one, not so good. Guess who takes offense? Yeah – the rich! The first review is a short one from Books And Authors: In “New York Society on Parade,” Mr. Ralph Pulitzer and Mr. Howard Chandler Christy combine to produce a volume of clearly written prose, and pictures of exceedingly well-dressed men and women, dining, dancing, and otherwise amusing themselves. The artist leaves them with good looks at least; the author describes them as hard, mercenary, and all but despicable in selfishness. The book is evidently meant for two classes of readers; those described in these pages, and those to whom the private ball room, the box at the opera, the costly dinner-party are far-off visions, purely objects of faith. The former will probably be indifferent, the latter will feel instructed or horrified according to temperament. Both will find the little volume elegant and tasteful. Harper & Brothers. Probably the worst person to review this book would be a member of society – and that’s who The Bookman Magazine chose in 1910 – the erudite Frank Crowinshield – here is his long review: Ralph Putitzer’s “New York SOCIETY ON PARADE’” It is a thousand pities that Mr. Pulitzer could not have coupled in this extraordinary little book good nature with satire and sympathy with cleverness. His wit is altogether too good to be wasted on soexaggerated and so bitter a book. His attacks on the forlorn and plodding people in our metropolitan society are a little too rancorous and envenomed to carry anything like conviction in their train. He is not satisfied to beat the poor creatures roundly over the pate but must— simply for good luck and good measure —leap upon them afterward and pummel them until they be dead. He uses hiscudgel so dexterously, however, that we can but deplore his failure to use a rapier in its stead. Here are one hundred and forty pages (not to mention Howard Chandler Christy’s eight illustrations) that are devoted exclusively to assaulting and battering three innocent enough diversions of our fashionable New Yorkers—to wit: dinners, operas and dances. At the verythreshold of the book we were thrilled to read, apropos of dining out in le monde ou l’on s’ennuie that a long strip of carpet winds its way from the front door across the sidewalk to the curb,sheltered by an awning and presided over by a groom whose function it is to open the doors of carriages and automobiles (with no grooms of their own) and to summon these conveyances at the evening’s end. He can also inform arrivals at what hour carriages are being ordered to return. The guests generally begin to reach the seat of hospitality about ten minutes after the hour of invitation. As they enter the house the ladies are ushered into one cloak-room and the men into another. The men go through the simple operation of taking off their overcoats and hats and getting a check by which to reclaim them. They are also handed a little stiff envelope containing a card, etc. These are pregnant words, indeed, and after reading them, we hoped that we were to receive a thorough grounding in polite etiquette. We guessed that we had met with a greater than Bok, the peer of Mrs. Sherwood, even. We hurried on, hoping to learn what to wear at such solemn and costly revels, what banalities to utter upon attacking our caviare; which of the silver (or gold) harpoons to bury in our docile and patient clams, or, finally, how to slip gracefully homeward before the cigars had been permitted to burn wearily to their little red paper belts. But this is the only really valuable hint on social deportment in the entire volume; the rest of it is simply an organized attack on social New York. We are told that the ladies in the boxes at the opera were wont, years ago, to look “laughably fat, pitifully thin, sheepish, waspish, bovine, feline. (Our own memory of these dead and gone ladies, as we gazed at them with awe from our stalls, is that they were too beautiful for words.) As for the ladies in those same boxes to-day, the author is disposed to think that they are “mere wax dolls, mere supports for their dresses, mere backgrounds for their jewels, mere mannikins to grin and gesture with automatic animation, to pose and preen with pompand dignity.: (We merely remark, in passing, that stich an utterance as this is, to our mind, almost sacrilegious. It is not satire—it is lése majesté.) At a fashionable dance in New York we are told that most of the women “eat moderately at supper, whether from scruples of conscience or of corsets is immaterial. Each of the men, however, toys with enough food to sustain a clerk for forty-eight hours, and sips enough champagne to send a day-labourer to the night-court.” But to go on with the author’s description of a typical New York dance—in some respects the crowning absurdity of the book: “Champagne bottles rise into sight and disappear like one of their own golden bubbles. Their contents swirl in foaming cataracts down thirsty throats to freshen weary bodies and irrigate parched minds. The host has lost much of his starch but none of his stupidity. Men stand and sit about with flabby, saturated shirt-fronts and clammy pendent collars, their faces flushed, their eyes bright, their tongues quickening.” Upton Sinclair! Joseph Medill Patterson! Hang your heads in very shame! No review of this volume would be adequate, however, that failed to pay full tribute to Mr, Pulitzer’s caustic wit. Indeed, the epigrams and mots that are scattered through the little book almostrepay us for the author’s evident heat and choler. As, for instance: The hostess, at a dance, welcomes her guests with that indelible smile which hostesses shareexclusively with coiffeurs’ models and Christian martyrs. The servants at a fashionable dinner are described as “so many prestidigitators, palming the most promising plates beneath their exasperated victims’ very eyes, proving, with tantalising success,that the quickness of the hand deceives the palate.” The ladies in New York are said to be “fond of giving one another addresses in Paris where they say one can get such pretty things so ridiculouslycheap; but they do not give one another the addresses where they actually do get such pretty things ridiculously cheap. Those they keep sacredly to themselves.” The smoke from a cigarette in the mouth of a fashionable woman “issues from curving lip or chiselled nostril as delicate as any innuendo.” The men, on entering the boxes at the Metropolitan,”‘are ranged behind the women by chance, by choice or by adversity.” A woman of very moderate means at the opera is wearing a string of pearls which “must be either adulterated or adulterous.” “The larger portions of the brain, as well as of the body, are not supposed to be shown in New York society.” The mansions along upper Fifth Avenue are described as “palatial plagiarisms.” Adowager’s face is said to be “a triumph of massage over matter.” At a dinner the attitude of the men and the women toward each other “is very much like their attitude toward the chauds-froids and the galantines which are set before them—familiarity with externals tempered by ignorance of contents.” Or this really priceless bit: “The society of New York has performed the feat of lifting itself off the ground by its own purse-strings.” As we hinted before, it is a pity to waste such delightful morsels as these on a monograph that is as deficient in proportion and perspective as it is in sympathy and kindliness. The author hasmade his picture altogether too murky, he should learn that in any work of art the effect of black can best be secured by contrasting it with a spot or two of highlight. Where there are no whites theblacks have an annoying habit of seeming less black.Francis W. Crowninshield Condition:Book is overall good plus. Front cover has red woven / wavy designed cloth patterned covers with gilt titling. Top edge gilt. Corners very good. Back cover has area of discoloration / soiling in upper corner with slight bowing. Spine good with gilt titling. Hinges good with text block good. No writing anywhere in book except on front endpaper with previous owners signature. Rear endpapers have soiling and a small faded blue line – see final 2 photos. Please see all photos or ask for more. No Dustjacket Details:hardcover approx 8 x 5 1/2 ” 142 pages1910 with no other printings stated. This is a first edition.Harper & Brothers Terms (payment, shipping, tax, returns, feedback, etc.) Please read before buying U.S. bidders only Payment Please pay within 48 hours of winning. eBay managed payments Shipping Shipping will be $6.50 and will be shipped USPS media mail with tracking. We may upgrade your package at our discretion to USPS Ground Advantage. Package will be shipped within 4 business days after payment – usually faster. The USPS can be notoriously slow, it could take 2-3 weeks for delivery. Please take that into account when leaving feedback, that we will ship quickly, but the USPS can take a long time to deliver, and we have no control over delivery time. Why Shipping Costs Are What They Are: eBay users may note that postal rates increased AGAIN on July 14, 2024. That’s EIGHT price hikes in 4 years. This was the largest single price increase ever: 10% on media mail. USPS shipping is getting expensive, but eBay also charges sellers 15% on the shipping cost (+ the taxes), in addition to the actual package shipping cost. That fact and the USPS business model has made shipping prices rise quite a bit since 2019. In 2019 a one pound package sent via media mail cost $2.75. Today it is 68% more to send the same package. This is all part of the bi-annual price increases starting in 2020 & the misguided USPS 10 Year Plan – “Delivering For America,” implemented in 2021 which twice per year, every year until 2030 will keep increasing rates, while the USPS continues to lose billions of dollars. Combined Shipping if you Buy or Win Multiple Auctions Multiple book/media auction wins will qualify for combined shipping when possible. Do not pay until auctions you are bidding on are complete. Email to let us know that you will be bidding or have won more than one item. A revised combined invoice will then be sent after you tell us you are done bidding. Otherwise, if you pay before all auctions are complete or pay separately – combined shipping is not available. Sales Tax: If your state has sales tax, it is collected by eBay & then paid to your state tax authority. Sellers do not make money from this but are charged a percentage by eBay on the total sale including tax – insane, but true. Returns No returns. We describe all items conservatively. However, If there is a problem, message us through eBay messages to let us know what the issue is before contacting eBay or initiating a return or leaving feedback and we will work it out. We want satisfied customers. Feedback: After you receive your item and are satisfied, please leave positive feedback and after you do we will reciprocate. Questions There’s no such thing as a stupid question. Please ask any and all questions before bidding. Photos & Descriptions Photos are of the actual item depicted and are part of the description, please view them all. No stock photos, as many other “bulk sellers” listings are used, which doesn’t show the real item you will be receiving. Descriptions are carefully written and detailed so you know exactly what you are bidding on. We reserve copyright to all our own descriptions & photos. About In the used and rare book business for over 35 years and on eBay for over 25 years. Biography of Howard Chandler ChristyHoward Chandler Christy (1872-1952) is remembered for his contributions to the field of illustration in his documentarian role during the Spanish-American War, his creation of the ‘Christy Girl,’ and most notably today, for his patriotic poster designs for World War I.As an aspiring artist, Christy received formal training in art in New York City at the Art Students League and the National Academy of Design—two schools responsible for turning out some of the most prolific and celebrated illustrators of the century. He studied under the renowned impressionist artist, William Merritt Chase (1849-1916) at The Art Students League. With the abrupt onset of the Spanish-American War in 1898, an impassioned Christy offered his services and traveled with United States troops to Cuba. He used his draftsman skills to document the events of battle with pen and ink illustrations that were published to accompany articles about the war’s progress. Scribner’s, Harper’s, Century, and Leslie’s Weekly were the biggest names in the magazine industry, and all were vying for his drawings. With mass circulation, these works augmented Christy’s modest reputation into one that became highly regarded. By the time he returned to the United States, Christy was highly sought after by magazine syndicates.Christy began working regularly for Scribner’s, and when his painting of The Soldier’s Dream was published, his famous ‘Christy Girl’ was born. The ‘Christy Girl,’ like Charles Dana Gibson’s ‘Gibson Girl,’ evolved from a single character, into a type—one who was beloved for her embodiment of the ideal American woman for her elegant confidence, athleticism, and beauty.[1] The success of his ‘Christy Girl’ brought the artist into the niche of contemporaneously recognized “women’s themes,” where he would remain for quite some time. In fact, Christy was so highly regarded as a trendsetter in fashion and decorum that he was chosen to serve as the singular judge in the inaugural year of the Miss America Pageant in 1921, and designed the original trophy.[2]In 1915, another war loomed and once again Christy offered his talents to support the war effort, this time designing government posters for the Red Cross and civilian involvement.[3] His posters, Gee, I wish I were a Man! and I Want You for the Navy became iconic images that are heralded to this day.Christy transitioned into becoming a portrait artist after World War I. Already holding a significant reputation in the field, he was able to paint many celebrities and political figures, including Presidents Franklin Delano Roosevelt, Herbert Hoover, James K. Polk, Martin Van Buren, James A. Garfield, and Calvin Coolidge and his wife, Grace, the Crown Prince Umberto of Italy, Amelia Earhart, General Douglas MacArthur, Charles Evans Hughes, Lawrence Tibbett, Mrs. William Randolph Hearst, and even Benito Mussolini.[4]The 1930s marked yet another transition in Christy’s career, when in the late 1920s, his interests shifted to mural painting. A neo-Gothic-style building known as The Hotel des Artistes in New York City houses Christy’s earliest mural success. Despite its name, the building was never a hotel, but rather a complex of 115 apartments, one of which Christy used for his studio. In the late 1920s he began designing a mural series for the café entitled, Fantasy Scenes with Naked Beauties. It is comprised of nine oil paintings mounted on canvas, with images of allegorical nymphs, foliage, and wildlife animals. The project was finally completed in 1935. Another famous mural, The Signing of the Constitution, was completed in the 1940s for the rotunda of the Capitol building in Washington, DC.Like many successful artists, Christy also taught art classes. He was hired for brief periods by Cooper Union, the Chase School, New York School of Art, and The Art Students League.In recognition of his contributions to the field, Howard Chandler Christy was a member of the Society of Illustrators beginning in 1915, and inducted into their Hall of Fame in 1980. His papers can be found at the Lafayette College Special Collections & College Archives.

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