The Prince of Wales and other famous Americans — Context and Discussion
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ll had never before asked me to do anything for himself or anybody else, I bade him bring the young man to my apartment that afternoon at five.
Schell arrived at the appointed hour, accompanied by what appeared to be a youth just out of the adolescent stage, so shy, indeed, that he immediately began to bombard me with a volley of quite unrecognizable English. Nevertheless, I was able to pick out a few words, enough to gather that he had recently been stopping somewhere in Mexico with Witter Bynner and D. H. Lawrence. "Why," I demanded, "didn't you draw them?" His abashment was complete: he confessed that he was unaware that these fellows were celebrated!
I gently tugged at the portfolio that Miguel Covarrubias hugged under his arm, which, in his modesty, he had not voluntarily relinquished, and proceeded to scan the contents. Although I found myself ignorant of the very names of the subjects, with the single exception of Ramon del Valle-Inclan (and I had no idea what he looked like), I was immediately convinced that I stood in the presence of an amazing talent, if not, indeed, genius. That afternoon he made the sketches for his caricature of me, delivered two days later, the first, I think, of this New York series. That afternoon, too, I began to use the telephone in his behalf, and for the next few days I made appointments for him to meet H. L. Mencken, Waldo Frank, Avery Hopwood, Eva Le Gallienne, and a great many others. I also introduced him to Ralph Barton who, with unselfish admiration for the rare gifts of this rival caricaturist, rendered him invaluable aid and encouragement. As soon as Covarrubias had drawn a few local faces I invited him to join me one day for lunch at the Algonquin where he was acclaimed at once, held, indeed, almost a reception. From that moment he was launched--as I knew he would be: one glance at his drawings sufficed to exhibit indelible proof of his prowess.
From the beginning I was amazed at his ability to size up a person on a blank sheet of paper at once: there was a certain clairvoyance in this. I had believed, hitherto, that it was necessary for a caricaturist to study his subject for some time before he touched pen to paper. Covarrubias, at least so far as his own work was concerned, effectively demolished this belief. Speaking English imperfectly, a newcomer to this country, frequently he was actually ignorant as to whether his model was actor, painter, or author. In spite of this handicap, or because of it, his caricatures almost invariably go deeply behind the mere sculptural formation of the face. They are often a complete criticism of a personality. Moreover, the artist does not depend on ridiculous collocations of figures or witty captions, in the manner of Max Beerbohm, for his effects. His arrangement of the lines of the face alone tells the story, occasionally, it must be admitted, a cruel story. There is, of course, a sequel to this history of our first encounter a little more than a year ago. At the present moment, Miguel Covarrubias is about as well known in New York as it would be possible for any one to be. In fact, when I desire to meet any celebrated person nowadays, my instinct suggests at once that Covarrubias is the man who can most easily manage the introduction. On the whole, therefore, I fancy it would be more appropriate for him to draw a frontispiece for a book of mine than for me to furnish this poor preface for this brilliant book of his. I think, in compensation, I'll ask him to do it!
New York. March 17,1925.
PREFACE by Carl Van Vechten
THE PRINCE OF WALES FLORENCE MILLS OTTO H. KAHN WILLA CATHER JACK DEMPSEY CHARLIE CHAPLIN CALVIN COOLIDGE H. L. MENCKEN GEORGE JEAN NATHAN JOHN D. ROCKEFELLER ANN PENNINGTON AL SMITH JASCHA HEIFETZ MARY PICKFORD THEODORE DREISER HAROLD LLOYD ALFRED STIEGLITZ ED WYNN GEORGE GERSHWIN GEORGE HORACE LORIMER RUDOLPH VALENTINO LEOPOLD STOKOWSKI BABE RUTH CARL VAN VECHTEN EDDIE CANTOR ALEXANDER WOOLLCOTT MRS. FISKE JOSEPH HERGESHEIMER LILLIAN GISH FRITZ KREISLER PAUL WHITEMAN EUGENE O'NEILL FANNIE BRICE FRANK CROWNINSHIELD FRED STONE HEYWOOD BROUN LENORE ULRIC FRED AND ADELE ASTAIRE FRANKLIN P. ADAMS LEE SIMONSON JOHN BARRYMORE HELEN WESTLEY WILL ROGERS ROBERT EDMOND JONES GLORIA SWANSON RALPH BARTON MORRIS GEST IVY MADDISON AVERY HOPWOOD WILLIAM S. HART CARLOTTA MONTEREY IRVING BERLIN EVA LE GALLIENNE DOUGLAS FAIRBANKS ROSE ROLANDO PAULINE LORD PICASSO W. SOMERSET MAUGHAM XAVIER ALGARA PLUTARCO ELIAS CALLES ERNEST NEWMAN JOSE JUAN TABLADA IGOR STRAVINSKY RAMON DEL VALLE INCLAN SERGE KOUSSEVITSKY MIGUEL COVARRUBIAS
THE PRINCE OF WALES AND OTHER FAMOUS AMERICANS
GEORGE HORACE LORIMER
FRED AND ADELE ASTAIRE
PLUTARCO ELIAS CALLES
Carl Van Vechten's preface to this 1925 collection recounts the moment he first saw Covarrubias's work: a shy Mexican teenager arrived at his apartment, hugging a portfolio of caricatures. Van Vechten, initially skeptical of such appeals, was immediately convinced he was 'in the presence of an amazing talent.' The preface itself becomes a document of artistic discovery, detailing how Covarrubias—then unknown in New York—was introduced to figures like H. L. Mencken and Eva Le Gallienne. The book's title, The Prince of Wales and Other Famous Americans, signals its blend of international and domestic subjects, though the catalog subject 'Caricatures and cartoons—United States' narrows the focus to American cultural figures.
A Preface as Origin Story
Van Vechten's preface is not a conventional introduction but a narrative of how the series began. He describes the date—September 12, 1923, the birthday of both Alfred Knopf and Henry Mencken—and the intermediary, Sherrill Schell. The young Covarrubias spoke 'quite unrecognizable English' and had been staying with Witter Bynner and D. H. Lawrence in Mexico, yet he had not drawn them because he was 'unaware that these fellows were celebrated.' This anecdote reveals Covarrubias's initial unfamiliarity with American fame, which Van Vechten corrected by arranging sittings with New York luminaries. The preface thus frames the caricatures as a collaborative project: Van Vechten's introductions made the subjects accessible, while Covarrubias's talent transformed them into art.
The Caricaturist's Entry into New York
The preface offers a rare glimpse into the mechanics of artistic patronage in 1920s New York. Van Vechten notes that 'any person in public life is the object of at least one such appeal every week,' yet he chose to respond to Schell's call. The first caricature produced was of Van Vechten himself, delivered two days after their meeting. Covarrubias's earlier work, limited to Mexican subjects unknown in the U.S., was deemed unpublishable; the New York series was a deliberate pivot. The preface names several of the first sitters—Mencken, Waldo Frank, Avery Hopwood—and mentions Ralph Barton's 'unselfish admiration' for Covarrubias's gifts. This network of introductions and endorsements shaped the book's roster of famous Americans.
Evidence of Covarrubias's Technique
Although the excerpts contain no reproductions of the drawings, Van Vechten's description of his first encounter provides clues to Covarrubias's method. The artist made sketches 'that afternoon' and completed the finished caricature two days later—a rapid turnaround that suggests a keen eye for essential features. Van Vechten's immediate conviction of 'genius' implies that the drawings captured something beyond likeness, perhaps a psychological or social truth. The preface also notes that Covarrubias had 'nothing to show editors but caricatures of Mexicans, unknown here,' indicating that his style was already developed before the New York series. The book thus preserves a moment when a Mexican artist's perspective reframed American celebrity.
Readers should approach this book as a collaborative artifact: Van Vechten's preface supplies the backstory, while the plates themselves—not included in this text—carry the visual argument. The catalog subject 'Caricatures and cartoons—United States' accurately describes the content, but the preface reveals a more complex origin involving a Mexican immigrant's talent and a patron's network. The book is best understood as a record of how fame was constructed and caricatured in the Jazz Age.
I remember flipping through a friend’s old copy of Van Vechten’s portraits, how the bold, sharp lines made each face feel both familiar and slightly impossible. It reminded me of standing by the Lincoln Memorial, watching the rain trace gentle erosion on the stone, time’s own stylized caricature. That quiet sense of permanence fading, captured in Acid Rain and Our Nation's Capital: A Guide to Effects on Buildings and Monuments — Story, Setting & Ideas, felt just as tender.
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