Maxfield Parrish Illustrated First Edition 1904 Poems Of Childhood Eugene Field

Description: Hardcover. 8vo. Charles Scribner's Sons, New York 1904. 199 pgs. Illustrated with 8 Color Plates. Decorated endpapers. First Edition/First Printing. DJ is chipped and worn with pieces missing from the spine ends and the extremities. Bound in cloth boards with color pastedown present to the front board. Boards have some shelf-wear present to the extremities (front color plate lightly scuffed and rubbed) . Previous owner's name present to the front flyleaf endpaper. Foxing present. Text is free of marks. Binding tight and solid. A wonderful collection of children's poetry from a master and illustrated by one of the luminaries of the Golden Age of Illustration. Eugene Field, Sr. was an American writer, best known for his children's poetry and humorous essays. Maxfield Parrish Illustrated First Edition 1904 Poems Of Childhood Eugene Field Click images to enlarge Description Up For Sale Today is Poems of Childhood by Eugene Field with illustrations by Maxfield Parrish Hardcover. 8vo. Charles Scribner's Sons, New York 1904. 199 pgs. Illustrated with 8 Color Plates. Decorated endpapers. First Edition/First Printing. DJ is chipped and worn with pieces missing from the spine ends and the extremities. Bound in cloth boards with color pastedown present to the front board. Boards have some shelf-wear present to the extremities (front color plate lightly scuffed and rubbed) . Previous owner's name present to the front flyleaf endpaper. Foxing present. Text is free of marks. Binding tight and solid. A wonderful collection of children's poetry from a master and illustrated by one of the luminaries of the Golden Age of Illustration. FROM WIKIPEDIA: Eugene Field, Sr. was an American writer, best known for his children's poetry and humorous essays. Field then set to work as a journalist for the St. Joseph Gazette in Saint Joseph, Missouri, in 1875. That same year he married Julia Comstock, with whom he had eight children. For the rest of his life he arranged for all the money he earned to be sent to his wife, saying that he had no head for money himself. Field soon rose to become city editor of the Gazette. He became known for his light, humorous articles written in a gossipy style, some of which were reprinted by other newspapers around the country. It was during this time that he wrote the famous poem "Lovers Lane" about a street in St. Joseph, Missouri. From 1876 through 1880 Field lived in St. Louis, first as an editorial writer for the Morning Journal and subsequently for the Times-Journal. After a brief stint as managing editor of the Kansas City Times, he worked for two years as editor of the Denver Tribune. In 1883 Field moved to Chicago where he wrote a humorous newspaper column called Sharps and Flats for the Chicago Daily News. His home in Chicago was near the intersection of N. Clarendon and W. Hutchinson in the neighborhood now known as Buena Park. The Sharps and Flats column ran in the newspaper's morning edition. In it, Field made quips about issues and personalities of the day, especially in the arts and literature. A pet subject was the intellectual greatness of Chicago, especially compared to Boston. In April 1887, Field wrote, "While Chicago is humping herself in the interests of literature, art and the sciences, vain old Boston is frivoling away her precious time in an attempted renaissance of the cod fisheries." Also that year, Chicago's National League baseball club sold future baseball Hall of Famer Mike "King" Kelly to Boston, and coincidentally soon after, famous Boston poet and diplomat James Russell Lowell made a speaking tour of Chicago. "Chicago feels a special interest in Mr. Lowell at this particular time because he is perhaps the foremost representative of the enterprising and opulent community which within the last week has secured the services of one of Chicago's honored sons for the base-ball season of 1887," Field wrote. "The fact that Boston has come to Chicago for the captain of her baseball nine has reinvigorated the bonds of affection between the metropolis of the Bay state [sic] and the metropolis of the mighty west; the truth of this will appear in the mighty welcome which our public will give Mr. Lowell next Tuesday." Four months later, upon Kelly's first return to Chicago as a player for Boston, Field would speak to "Col. Samuel J. Bosbyshell, the Prairie avenue millionaire." Bosbyshell said, "I like Mr. Kelly better than I do Lowell. When Lowell was here I had him out to the house to a $3,500 dinner, and do what I could, I couldn't get him waked up. He didn't seem to want to talk about anything but literature. Now, when I'm out in society I make it a point never to talk shop, and Lowell's peculiarity mortified me. If it hadn't been for [Chicago humorist] Frank Lincoln, with his imitations and funny stories, the dinner would have been a stupid affair. But Kelly is another kind of man; he is more versatile than Lowell. I don't believe he mentioned books once during the four hours we sat at dinner last Saturday evening. Nor did he confine his conversation to base-ball topics; he is deeply versed in turf lore, and he talked most entertainingly of the prominent race horses he was acquainted with and of the leading jockeys he has met." Field first started publishing poetry in 1879, when his poem "Christmas Treasures" appeared in A Little Book of Western Verse. Over a dozen volumes of poetry followed and he became well known for his light-hearted poems for children, among the most famous of which are "Wynken, Blynken, and Nod" and "The Duel" (which is perhaps better known as "The Gingham Dog and the Calico Cat"). Field also published a number of short stories, including "The Holy Cross" and "Daniel and the Devil." Maxfield Parrish (July 25, 1870 – March 30, 1966) was an American painter and illustrator active in the first half of the 20th century. He is known for his distinctive saturated hues and idealized neo-classical imagery. Born in Philadelphia, Pennsylvania, he was the son of painter and etcher Stephen Parrish. He began drawing for his own amusement as a child. His given name was Frederick Parrish, but he later adopted the maiden name of his paternal grandmother, Maxfield, as his middle name, and later as his professional name. His father was an engraver and landscape artist, and young Parrish's parents encouraged his talent. He attended the Haverford School, Haverford College, and the Pennsylvania Academy of the Fine Arts, and later at Drexel Institute of Art, Science & Industry. But he was also exposed to the landscapes, art, and architecture of Europe in his youth. During a stay in Europe with his parents during 1894-96, Parrish studied at the Paris school of a Dr. Kornemann, and in the summer of 1895 he traveled to London and Brussels. During 1901-02, he journeyed through parts of the American Southwest, said to have influenced his sense of the color possibilities of natural landscapes (he visited Colorado again in 1920). In 1903 he traveled to Italy to study the scenery and architecture as research for a commission, and while in Europe he once again visited Paris. Parrish entered into an artistic career that lasted for more than half a century, and which helped shape the Golden Age of illustration and the future of American visual arts. The Dinky Bird, by Maxfield Parrish, an illustration from Poems of Childhood by Eugene Field, 1904. This work exemplifies Parrish's characteristic use of androgynous figures. He lived in Philadelphia until he was 28, at which time he purchased land in Plainfield, New Hampshire, opposite the valley from his parents' home. Over a number of years he designed and built his own home and eventual studio, The Oaks. He spent the rest of his life there with his wife, Lydia, who died in 1953, and his mistress and model, Sue Lewin, who survived his death in 1966 at age 95. Launched by a commission to illustrate L. Frank Baum's Mother Goose in Prose in 1897, his repertoire included many prestigious projects, among which were Eugene Field's Poems of Childhood in 1904 (8 color plates; see illustration) and such traditional works as Arabian Nights in 1909 (12 color plates). Books illustrated by Parrish, in addition to those that include reproductions of Parrish's work—including A Wonder Book and Tanglewood Tales in 1910 (10 color plates), The Golden Treasury of Songs and Lyrics in 1911 ( 8 color plates) and The Knave of Hearts in 1925 (with 23 color images)—are highly sought-after collectors' items. The Lantern Bearers, 1908, oil on canvas on board, created for Collier's magazine, the painting shows Parrish's use of glazes and saturated color in an evocative night scene, Crystal Bridges Museum of American Art He had numerous commissions from popular magazines in the 1910s and 1920s, including Hearst's, Colliers, and Life. He was also a favorite of advertisers, including Wanamaker's, Edison-Mazda Lamps, Fisk Tires, Colgate and Oneida Cutlery. In the 1920s, Parrish turned away from illustration and concentrated on painting for its own sake. Androgynous nudes in fantastical settings were a recurring theme. He continued in this vein for several years, living comfortably off the royalties brought in by the production of posters and calendars featuring his works. An early favorite model was Kitty Owen in the 1920s. Later another favorite, Susan Lewin, posed for many works, and was employed in the Parrish household for many years. Parrish posed for many images that featured male—and occasionally female—figures (see Potpourri, 1905). In 1931, he declared to the Associated Press, "I'm done with girls on rocks", and opted instead to focus on landscapes. Though never as popular as his earlier works, he profited from them. He would often build models of the landscapes he wished to paint, using various lighting setups before deciding on a preferred view, which he would photograph as a basis for the painting (see for example, The Millpond). He lived in Plainfield, New Hampshire, near the Cornish Art Colony, and painted until he was 91 years old. He was also an avid machinist. He often referred to himself as "a mechanic who loved to paint." Parrish was one of the most successful and prolific of the illustrators and painters of the Golden Age of Illustration. He was earning over $100,000 per year by 1910, at a time when a fine home could be purchased for $2,000. Norman Rockwell referred to Parrish as "my idol". Parrish, although unique in his execution and never duplicated, exhibited considerable influence upon other illustrators and artists, an influence which continues through the present. His original paintings are highly sought-after when they come to market, as well as his first-edition prints, which continue to command high prices at both auction and through private sales. His exacting attention to detail preceded the Photorealist and Hyper-Realist art movements, and his abundant imagination and love of fantasy elements have also influenced artists in myriad media. OUR MISSION STATEMENT: Our goal is to provide the best books for the lowest prices. 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Price: 625 USD

Location: Charlottesville, Virginia

End Time: 2024-10-19T06:52:59.000Z

Shipping Cost: 5.99 USD