The tabloid press was banned, naturally, so six -magazine cover girl, she could have been on the arm of a president’s son or the heir to any fortune in town.
Yet she chose, of all things, a cartoonist, and one twice her age.
At 17, Brenda Diana Duff Frazier, the original celebutante (Walter Winchell coined the term in her honor), held her coming-out party at the Ritz-Carlton in New York, where she also lived with her mother.
Forty waiters were needed simply to uncork and pour champagne for the 1,249 guests.
At 34, Arno was handsome, elegant, and famous, *The New Yorker’*s star artist since its founding, in 1925.
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“A total original from no tradition in American cartooning,” says the artist Edward Sorel.
“Far and away, the best magazine cartoonist ever,” says Hugh Hefner, who courted Arno in the 1950s in hopes that the artist would help establish In the 1920s, Arno jolted the cartooning world with his deceptively casual, “slapdash” style (it often required multiple revisions to achieve), and his single-line dialogue caption—“the overheard remark,” as Benchley called it.
His audience ranged from Marie Harriman, who showed his work in her Picasso-laden gallery, to fans of CBS Radio’s on which he guest-starred as an “armchair detective” to help solve the case of “The Gum-Chewing Millionaire.”Arno the socialite stayed at the Ritz-Carlton until dawn, keeping Frazier company, and was captured in photos holding her hand while the 17-year-old looks utterly exhausted by the event.
(She was.) Five nights earlier, Arno the satirist and his friends—publisher Condé Nast and George Balanchine among them—held a well-publicized debut at the nightclub Chez Firehouse for Miss Wilma Baard.
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