1920\'S RICHARDSONS MERCERIZED COTTON EMBROIDERY NEYSA MCMEIN ARTIST AD 7334 For Sale

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1920\'S RICHARDSONS MERCERIZED COTTON EMBROIDERY NEYSA MCMEIN ARTIST AD 7334:
$21.95

KEYWORDS:RICHARDSONS MERCERIZED, COTTON, FASHION, YARN, CHICAGO, CROCHET, EMBROIDERY, SILK, NEYSA MCMEIN, FLAPPER, WOMAN

DESCRIPTION OF ITEM:A GREAT VINTAGE ORIGINAL ADVERTISEMENT FORRICHARDSONS MERCERIZED COTTON

Neysa Moran McMein(bornMarjorie Frances McMein; January 24, 1888 – May 12, 1949) was an American illustrator and portrait painter who studied atThe School of The Art Institute of ChicagoandArt Students League of New York. She began her career as an illustrator and during World War I, she traveled across France entertaining military troops with Anita P. Wilcox and Jane Bulley and made posters to support the war effort. She was made an honorarynon-commissioned officerin theUnited States Marine Corpsfor her contributions to the war effort.

McMein was a successful illustrator of magazine covers, advertisements, and magazine articles for national publications, likeMcClure\'s,McCall\'s,The Saturday Evening Post, andCollier\'s. McMein created the portrait of a fictional housewife \"Betty Crocker\" forGeneral Mills. She was also a successful portrait painter who painted the portraits of presidents, actors, and writers.

Algonquin Round Tablemembers were entertained at her West 57th Street studio, where she was known for her active parties.Lifemagazine wrote an article about adult party games, which featured stories about McMein\'s parties. She had an open marriage to John G. Baragwanath, during which she had affairs withCharlie ChaplinandGeorge Abbott. Baragwanath described their marriage as a successful one based upon a deep friendship.

She was inducted into theSociety of Illustrators\' Hall of Fame in 1984, 35 years after her death. McMein was one of 20 Society of Illustrators\' artists to have their work published on a United States Postal Service Collectible Stamp sheet in 2001.

Marjorie Frances McMein[a]was born inQuincy, Illinois[2]on January 24, 1888.[3]She was the daughter of Harry Moran and Isabelle Parker McMein.[4]Harry McMein was a reporter before he worked for the McMein Publishing Company, a family business. Due to his alcoholism, his relationship with his wife was strained.[5]

McMein had musical, acting, and artistic talent. After graduating with honors in 1907 from the Quincy High School,[4]she attendedThe School of the Art Institute of Chicago. McMein worked at a large millinery firm, where she became lead designer.[4]In 1911[4]or 1913, she went to New York City[1][5]and after a brief stint as an actress[2]in several ofPaul Armstrong\'s plays,[6]she turned to commercial art. On the advice of anumerologist, she adopted the name Neysa.[2]John Baragwanath, her husband, stated that she chose the name Neysa after meeting one ofHomer Davenport\'s fillies at his stables. Whatever the original impetus for the change, McMein thought that the name Neysa \"had a commercial value\" above that of her birth name.[4]McMein studied at theArt Students League of New York[7][1]in 1914.[5]

McMein sold her first drawing to theBoston Starin 1914.[5]She createdHarry Horowitz\'s portrait in 1915 before he was executed forHerman Rosenthal\'s murder.[5]That year, she sold an illustration for the cover ofThe Saturday Evening Post[5]and herMisinformationillustration appeared on the May 8, 1915, cover ofPuckmagazine.[8]She became known for her portrayal of \"All American Girls.\"[4]

McMein made posters for French and United States governments duringWorld War I, as didThelma Cudlipp,Helen Hyde[7]andMary Brewster Hazelton.[9]Posters that she made also were used by theAmerican Red Crossin its fund-raising campaigns.[4]

She traveled across France to entertain the troops in 1918.[4]Of her time at theWestern Front, McMein said, \"Since I have lived through air bombing I never will be frightened by anything on earth. The terror of air raids cannot be imagined. They are heralded by the blowing of sirens and the ringing of church bells, and amid this din the lights are extinguished and then suddenly come the bombs, falling no one knows where. The noise they made is worse than that of the battles.\"[5]

McMein made portraits of some of the soldiers, drew cartoons, and colored the design of the Indian head insignia that was then used by the93rd Bomb Squadronto denote the number of German planes that a given plane shot down by drawing a German black cross over one of the bear teeth in a necklace worn around the Indian head.[10][b]She returned to the United States to care for her mother after her father died.[4]While in Quincy, she spoke at two fund-raising drives. \"[McMein] was the main attraction. The theater was filled. She was an excellent speaker; very witty and clever,\" according to Sarah Carney.[4]For her efforts supporting the U.S. war effort, McMein was appointed an honorarynon-commissioned officerin theUnited States Marine Corps, one of only three women to be so honored.[11]

Her illustrations appeared on the covers and within articles forMcClure\'smagazine by 1919.[13][c]By the 1920s, McMein andJessie Willcox Smithwere two of the major women magazine illustrators of their time. Together, they created hundreds of covers forMcCall\'sandGood Housekeepingmagazines.[14]Joseph Bernt, author of the article \"The Girl on the Magazine Cover: The Origins of Visual Stereotypes in American Mass Media\" found that both women andNorman Rockwellgenerally portrayed women in covers and illustrations as mothers, with scenes centered around children, during the 1920s and 1930s. Within the covers of the magazine were illustrations made by the three artists to sell consumer products, like Orange Crush, Ivory soap, Chesterfield cigarettes, and Holeproof Hosiery.[15]Following World War I, increased emphasis of family life was presented in mass media following a period whenwoman\'s suffrageand theNew Womanwere depicted in publications from the late 1800s according to Bernt.[15]Carolyn Kitch, author of the bookThe Girl on the Magazine Cover, finds, however, that McMein created illustrations of confident, modernNew Womenfor her magazine covers,[16]while Jessie Wilcox Smith concentrated more steadily on children.[16]

From 1923 through 1937, McMein created all ofMcCall\'scovers.[16]She also supplied work toNational Geographic,Woman\'s Home Companion,[4]Collier\'s, andPhotoplay.[3]McMein earned up to $2,500 (estimated equivalent to $37,517 in 2022)[d]per cover illustration.[2]She created advertising graphics forCadillac,Lucky Strikecigarettes andPalmolive soap.[3][4]

Together with artistsHoward Chandler ChristyandHarrison Fisher, McMein constituted the jury forMotion Picture Classicmagazine\'s \"Fame and Fortune\" contest of 1921/1922, which discovered theIt girlClara Bow.[17]Other promotional activities including judging Coney Island beauty contests or opening movie houses.[18]McMein designed silk textiles in the mid-1920s, three examples of which are in the collection of theMetropolitan Museum of Art.[19]In December 1929, she consulted withStudebaker\'s design department, with five other women artists and decorators.[20]

General Millscommissioned her to create the image ofBetty Crocker, a fictional housewife in 1936. She created an official portrait of Betty Crocker by combining features of the home economists employed by the company, which helped reinforce that Crocker was a real person.[21]The image of the \"ageless\" 32-year-old was used in advertising and on packaging until 1955 when Hilda Taylor painted an updated Betty, who also wore bright red and white clothing.[22]Like the Betty Crocker image, \"Miss McMein was herself a kind of American demigoddess: the most courted of commercial artists, hostess in her New York studio to all of the \'Algonquin wits\'—Benchley,Parker,Franklin P. Adams—a wit herself. Sophistication lay rouge-deep upon the personalities of her cover girls; beneath lay reassuring testimonials to health and wholesomeness,\" wrote James Gray, author ofBusiness Without Boundary: The Story of General Mills.[23]

In 1943, McMein collaborated with Alicia Patterson Guggenheim to create a comic strip, called \"Deathless Deer.\" The strip starred a \"deathless\" Egyptian princess who awakens in modern New York City. McMein, while talented, was unfamiliar with comic strip drafting and conventions, and Guggenheim\'s writing suffered with the format. The strip was a commercial and critical failure; it was discontinued in 1943.

In April 1938,McCall\'sMagazine did not renew McMein\'s contract to produce illustrations for the magazine. By then, magazines could cost-effectively publish color photographs using four-color machines.[5]McMein entered the field of portraiture, at first using pastels to depictDorothy Parker,Edna St. Vincent Millay, andHelen Hayes.[18]She painted portraits of presidentsHerbert HooverandWarren G. Harding, authorAnne Morrow Lindbergh, and actorsCharlie ChaplinandBeatrice Lillie.[3]McMein also paintedKatharine Cornell,[24]Kay Francis,[25]Janet Flanner,Dorothy Thompson,Anatole France,Charles Evans Hughesand CountFerdinand von Zeppelin.[5]She mentored photographerLee Miller.[18]

ARTIST / ILLUSTRATOR:

DATE OF ** ORIGINAL** ADVERTISEMENT: UNDATED

DATE PRINTED ON ITEM: NO

ITEM GRADE: FINE

CONDITION: CLEAN,PERFECT FOR FRAMING AND DISPLAYING.

PAGE SIZE: APPROX- 10-1/2\" x 14\" ADVERT SIZE: FULL PAGEPARTNUMBER #7334

PREMIUMS: CONDITION, FULL COLOR PRINTING, HEAVY WEIGHT PAPER

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