Description: 1910 B CORY KILVERT MAUD MULLER RAKE HAY FARM COUNTRY LIFE ART COVER FC2256 DATE OF THIS ** ORIGINAL ** ITEM: 1910YOU ARE LOOKING AT AN ORIGINAL LIFE MAGAZINE COVER - SO LOOK CAREFULLY AT PHOTO FOR SIZE AND CONDITION! ILLUSTRATOR/ARTIST: Benjamin Sayre Cory Kilvert was born in Hamilton, Ontario, Canada on April 14, 1879, according to his World War II draft card. Kilvert's son, Benjamin Sayre Cory Kilvert Jr., wrote, "As a very young man, Kilvert left Canada to study at the Art Students' League in New York City, where his instructor was Robert Henri….Kilvert was extremely well known for his illustrations that appeared in many books and magazines in both the USA and Canada from approximately 1902 to the mid 1930's." Kilvert's illustrations of children were highly praised in The American Printer, December 1902 issue. Itmay not be a difficult task for an artist to limn the figure of a child, but it is quite a different thing to draw children as B. Cory Kilvert draws them. This young artist delineates the soul as well as the material, and his work promises to make his name famous. His drawings in each instance reflect the child-soul of his model. He could hardly have selected a field that is more difficult to the average artist. Mr. Kilvert has done other work and well, but in none does he seem so gifted as in this portrayal of child character. It was really his depiction of the mischievous boy that first brought him to the attention of the art world, in which he has since played a conspicuous part. His realization of the juvenile is natural, and consequently shows much of what may be termed originality. Instead of striving for some ultra effect, Kilvert draws children as they exist, and draws them artistically, adding, perhaps, a capricious sentiment of Kilvert that does not detract, but accentuates, the reality of the drawings. That Kilvert has made a study of his subject must be evident to any one who ponders his work. That he is the closest of students is shown in each of his drawings, but that he has a natural talent for this important feature of his work cannot be denied. He is a mere youth himself, and has always had a big, soft spot in his heart for children. True he has studied them and their inconsistent characteristics, but never without a real interest in the children themselves. The result is that he draws as he knows the child to be, and delineates the child-soul as he has found it, and his work is clever and unique and ingenious, and always truly artistic. He has nor endeavored to create a new type that one would call the "Kilvert boy" or the "Kilvert girl." He has satisfied himself with Nature's creation and has given it to us, and we are pleased because he has done so. Nature is a great artist, and her work is difficult to improve upon. Kilvert realizes this fact. Each piece stands for some phase of child-life that none can fail to appreciate, even if one is naturally not of a very artistic bent. B. Cory Kilvert is young and will certainly place himself among the celebrities of his field. He is a native of Canada, having been born in Hamilton, Ont., in 1879. It is said that he was a mischievous boy himself and got into more than one scrape for drawing caricatures of his schoolmates. Three years ago [1899] he joined the art department of the New York Evening World, which he left to accept a place with Harper & Brothers. Recently he has been free-lancing, his work appearing in Harper's, Collier's, Outing, Frank Leslie's Monthly and the Metropolitan. In the last-named magazine much of his child-work has appeared, Editor Maxwell, a well-known art connoisseur, being much impressed with young Kilvert's drawings, of which he said, "Each is a miniature history of the race and each a thing of cleverness and beauty." The line which is Kilvert's specialty has practically no limit. Already he has studied the characteristics of the children of other than American nationality, and he draws them in the same clever manner that he does Michael Dooley or the others shown here. Kilvert's comic strip Buddy Spilliken's Diary was published from October 11 to November 29, 1908. In the 1910 U.S. Federal Census, Kilvert, his wife Elise, daughter Dorothy and a servant lived in Woodbury, New York on Pine Hill Road. He had been married a year and his occupation was artist. His comic strip Dorothy and the Killies was published in the New York Press from 1914 to 1915. On a return trip from Canada, visiting his mother in March 1919, Kilvert's address was recorded in the manifest as 50 West 55th Street, New York, New York. The Kilverts lived in Washington, D.C. at 1627 New Hampshire Avenue as recorded in the 1930 census. He had divorced first wife and remarried, around 1928, to Helen; they had two children, Janice and Cory B. Jr. Kilvert signed his World War II draft card on April 27, 1942. He lived in Manhattan, New York City at 130 East 67th Street and was self-employed. His description was five feet, eleven-and-a-half inches, 180 pounds, with blue eyes and brown hair. The New York Times noted his passing on March 31, 1946. Artist Did Humorous Cartoons for Original Life Magazine Benjamin Sayre Cory Kilvert of 876 Park Avenue, an artist whose humorous cartoons formed a feature of the original Life magazine, died here Friday [March 29]. His age was 65. Born in Hamilton, Ont., Mr. Kilvert came to this country in 1900 and studied at the Art Students League. He illustrated many children's books and at one time was a member of the staff of The World. He was a son of Francis Edwin Kilvert, former Member of the Canadian Parliament and Collector of Customs of Hamilton. He leaves a widow, Mrs. Helen Foss Kilvert, formerly of Nyack, N.Y.; a son, Benjamin S.C. Kilvert Jr., and two daughters, Janice Kilvert and Mrs. Jonathan Duncan. SPECIAL CHARACTERISTICS/DESCRIPTIVE WORDS: "Maud Muller" is a poem from 1856 written by John Greenleaf Whittier (1807–1892). It is about a beautiful maid named Maud Muller. One day, while harvesting hay, she meets a judge from the local town. Each is smitten with the other. The judge thinks that he would like to be a local farmer married to Maud, while she thinks that she would like to be the wealthy judge's wife. Neither voices these thoughts, however, and both the judge and the maiden move on. The judge marries a woman of wealth whose love for him is based on his riches. Maud Muller marries a young uneducated farmer. Throughout the rest of their lives, each remembers the day of their meeting and remorsefully reflects on what might have been. This poem contains the well-known quotation: "For of all sad words of tongue or pen, The saddest are these: 'It might have been!'" Whittier's younger contemporary Bret Harte wrote a short parody and sequel to the poem entitled "Mrs. Judge Jenkins", which mocks Whittier's conclusion by having Maud marry the Judge after all, with far more disastrous results: Maud's relatives get drunk in the wedding, while Maud herself grows "broad and red and stout" after giving birth to twins. Both eventually come to regret the marriage: Maud because she finds the Judge's emphasis on knowledge boring, while the Judge bemoans Maud's lack of refinement and social grace. Harte juxtaposes Whittier's famous line with his own, witty, take: If, of all words of tongue and pen, The saddest are, “It might have been,” More sad are these we daily see: “It is, but hadn’t ought to be.” Life is an American magazine published weekly from 1883 to 1972, as an intermittent "special" until 1978, a monthly from 1978 until 2000, and an online supplement since 2008. During its golden age from 1936 to 1972, Life was a wide-ranging weekly general-interest magazine known for the quality of its photography, and was one of the nation's most popular magazines, regularly reaching one-quarter of the population. Life was published independently for its first 53 years until 1936 as a general-interest and light entertainment magazine, heavy on illustrations, jokes, and social commentary. It featured some of the most important writers, editors, illustrators and cartoonists of its time: Charles Dana Gibson, Norman Rockwell and Jacob Hartman Jr. Gibson became the editor and owner of the magazine after John Ames Mitchell died in 1918. During its later years, the magazine offered brief capsule reviews (similar to those in The New Yorker) of plays and movies running in New York City, but with the innovative touch of a colored typographic bullet resembling a traffic light, appended to each review: green for a positive review, red for a negative one, and amber for mixed notices. In 1936, Time publisher Henry Luce bought Life solely for its title, and greatly redesigned the publication. LIFE (stylized in all caps) became the first all-photographic American news magazine, and it dominated the market for several decades, with a circulation peaking at over 13.5 million copies a week. One striking image published in the magazine was Alfred Eisenstaedt's photograph of a nurse in a sailor's arms, taken on August 14, 1945, during a VJ-Day celebration in New York's Times Square. The magazine's role in the history of photojournalism is considered its most important contribution to publishing. Its prestige attracted the memoirs of President Harry S. Truman, Prime Minister Winston Churchill, and General Douglas MacArthur, all serialized in its pages. After 2000, Time Inc. continued to use the Life brand for special and commemorative issues. Life returned to regularly scheduled issues as a weekly newspaper supplement from 2004 to 2007. The website life.com, originally one of the channels on Time Inc.'s Pathfinder service, was for a time in the late 2000s managed as a joint venture with Getty Images under the name See Your World, LLC. On January 30, 2012, the Life.com URL became a photo channel on Time.com. 1883 humor and general interest magazine Life was founded on January 4, 1883, in a New York City artist's studio at 1155 Broadway, as a partnership between John Ames Mitchell and Andrew Miller. Mitchell held a 75% interest in the magazine with the remaining 25% held by Miller. Both men retained their holdings until their deaths. Miller served as secretary-treasurer of the magazine and managed the business side of the operation. Mitchell, a 37-year-old illustrator who used a $10,000 inheritance to invest in the weekly magazine, served as its publisher. He also created the first Life name-plate with cupids as mascots and later on, drew its masthead of a knight leveling his lance at the posterior of a fleeing devil. Then he took advantage of a new printing process using zinc-coated plates, which improved the reproduction of his illustrations and artwork. This edge helped because Life faced stiff competition from the best-selling humor magazines Judge and Puck, which were already established and successful. Edward Sandford Martin was brought on as Life's first literary editor; the recent Harvard University graduate was a founder of the Harvard Lampoon. The motto of the first issue of Life was: "While there's Life, there's hope." The new magazine set forth its principles and policies to its readers: We wish to have some fun in this paper...We shall try to domesticate as much as possible of the casual cheerfulness that is drifting about in an unfriendly world...We shall have something to say about religion, about politics, fashion, society, literature, the stage, the stock exchange, and the police station, and we will speak out what is in our mind as fairly, as truthfully, and as decently as we know how. The magazine was a success and soon attracted the industry's leading contributors, of which the most important was Charles Dana Gibson. Three years after the magazine was founded, the Massachusetts native first sold Life a drawing for $4: a dog outside his kennel howling at the Moon. Encouraged by a publisher, also an artist, Gibson was joined in Life early days by illustrators such as Palmer Cox (creator of the Brownie), A. B. Frost, Oliver Herford and E. W. Kemble. Life's literary roster included the following: John Kendrick Bangs, James Whitcomb Riley and Brander Matthews. Mitchell was accused of anti-Semitism at a time of high rates of immigration to New York of eastern European Jews. When the magazine blamed the theatrical team of Klaw & Erlanger for Chicago's Iroquois Theater Fire in 1903, many people complained. Life's drama critic, James Stetson Metcalfe, was barred from the 47 Manhattan theatres controlled by the Theatrical Syndicate. Life published caricatures of Jews with large noses. Several individuals would publish their first major works in Life. In 1908 Robert Ripley published his first cartoon in Life, 20 years before his Believe It or Not! fame. Norman Rockwell's first cover for Life magazine, Tain't You, was published May 10, 1917. His paintings were featured on Life's cover 28 times between 1917 and 1924. Rea Irvin, the first art director of The New Yorker and creator of the character "Eustace Tilley", began his career by drawing covers for Life. This version of Life took sides in politics and international affairs, and published pro-American editorials. After Germany attacked Belgium in 1914, Mitchell and Gibson undertook a campaign to push the U.S. into the war. Gibson drew the Kaiser as a bloody madman, insulting Uncle Sam, sneering at crippled soldiers, and shooting Red Cross nurses. Following Mitchell's death in 1918, Gibson bought the magazine for $1 million, but the end of World War I had brought on social change. Life's brand of humor was outdated, as readers wanted more daring and risque works, and Life struggled to compete. A little more than three years after purchasing Life, Gibson quit and turned the decaying property over to publisher Clair Maxwell and treasurer Henry Richter. Gibson retired to Maine to paint and lost interest in the magazine. In 1920, Gibson selected former Vanity Fair staffer Robert E. Sherwood as editor. A WWI veteran and member of the Algonquin Round Table, Sherwood tried to inject sophisticated humor onto the pages. Life published Ivy League jokes, cartoons, flapper sayings and all-burlesque issues. Beginning in 1920, Life undertook a crusade against Prohibition. It also tapped the humorous writings of Frank Sullivan, Robert Benchley, Dorothy Parker, Franklin Pierce Adams and Corey Ford. Among the illustrators and cartoonists were Ralph Barton, Percy Crosby, Don Herold, Ellison Hoover, H. T. Webster, Art Young and John Held, Jr. Life had 250,000 readers in 1920, but as the Jazz Age rolled into the Great Depression, the magazine lost money and subscribers. By the time Maxwell and editor George Eggleston took over, Life had switched from publishing weekly to monthly. The two men went to work revamping its editorial style to meet the times, which resulted in improved readership. However, Life had passed its prime and was sliding toward financial ruin. The New Yorker, debuting in February 1925, copied many of the features and styles of Life; it recruited staff from its editorial and art departments. Another blow to Life's circulation came from raunchy humor periodicals such as Ballyhoo and Hooey, which ran what can be termed "outhouse" gags. In 1933, Esquire joined Life's competitors. In its final years, Life struggled to make a profit. Announcing the end of Life, Maxwell stated: "We cannot claim, like Mr. Gene Tunney, that we resigned our championship undefeated in our prime. But at least we hope to retire gracefully from a world still friendly." For Life's final issue in its original format, 80-year-old Edward Sandford Martin was recalled from editorial retirement to compose its obituary. He wrote: That Life should be passing into the hands of new owners and directors is of the liveliest interest to the sole survivor of the little group that saw it born in January 1883 ... As for me, I wish it all good fortune; grace, mercy and peace and usefulness to a distracted world that does not know which way to turn nor what will happen to it next. A wonderful time for a new voice to make a noise that needs to be heard! Life was an American magazine of humor, commentary, and entertainment founded by John Ames Mitchell in the 19th century. (He also edited it for the majority of its run, until his death.) Publication History Life began in 1883. No issue copyright renewals were found for this serial. The first copyright-renewed contribution is from June 14, 1929. In 1936, the magazine was bought by Henry Luce of Time, Inc., who launched a new magazine with the same name but completely different staff and subscription base. We are not aware of active copyrights in the issues linked below. ADVERT SIZE: SEE RULER SIDES IN PHOTO FOR DIMENSIONS ( ALL DIMENSIONS IN INCHES) **For multiple purchases please ASK FOR + wait for our combined invoice. Shipping discount are ONLY available with this method. Thank You. At BRANCHWATER BOOKS we look for rare & unusual ADVERTISING, COVERS + PRINTS of commercial graphics from throughout the world. Our AD's and COVER'S are ORIGINAL and 100% guaranteed --- (we code all our items to insure authenticity) ---- we stand behind this. 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