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Jessie Willcox SmithPease-Porridge Hot, Pease-Porridge Cold1912
1912
Price Upon Request
Price Upon Request
Price Upon Request
Price Upon Request
Price Upon Request
Price Upon Request
Price Upon Request
Price Upon Request
Price Upon Request
Price Upon Request
About the Item
Medium: Mixed Media on Paperboard
Signature: Signed Lower Right
This mixed media art by Jesssie Willcox Smith, entitled “Pease-Porridge Hot, Pease-Porridge Cold,” was executed in 1912, and first appeared in print in Good Housekeeping Magazine, December, 1912, as a black and white double-page tinted internal illustration [“Jessie Willcox Smith, A Bibliography,” by Edward Nudelman, Pelican, 1989, p.146]. Two years later, the image appeared for the first time in book form as one of five black
white full-page plates in the renowned "Jessie Willcox Smith Mother Goose,” NY, 1914, Dodd, Mead and Company, which featured five black and white plates, and 12 color plates [Nudelman, A39]. Appearing for the first time in color, this image was printed along with 17 other illustrations in a series entitled “Mother Goose Pictures,” issued in portfolio, by the Cosmopolitan Print Department of New York, in 1919 [Nudelman, p.170].
(Edward Nudelman)
- Creator:Jessie Willcox Smith (1863 - 1935, American)
- Creation Year:1912
- Dimensions:Height: 18 in (45.72 cm)Width: 25 in (63.5 cm)
- Medium:
- Period:
- Condition:
- Gallery Location:Fort Washington, PA
- Reference Number:Seller: 39471stDibs: LU38435959382
Jessie Willcox Smith
But success as an illustrator wasn't immediate. She got a job in the production department of The Ladies Home Journal in 1889 and was still working there five years later when Howard Pyle began teaching illustration at Drexel Institute of Arts and Sciences. Smith was accepted as a pupil in his first class. At 31, she was only 10 years younger than her teacher and one of his oldest students. Elizabeth Shippen Green and Violet Oakley soon joined her in the class, and the three became lifelong friends. Smith's first commission through Pyle was for an 1897 edition of Evangeline that she illustrated with Oakley. The two joined another Pyle student to rent a studio, and Green later joined them there. In 1901, the three shared the lease on an old inn outside of Philadelphia. That's the same year as the illustration above from "The Last of the Fairy Wands" in the December issue of Scribners Magazine. She produced two calendars with Green for 1902 that helped establish the careers of both women. The most important was "The Child," which showcased some of her most sensitive renditions of children to date. The images were collected into a book the following year. One of Smith's three images from that book is above at right. The magazines and books of the day voraciously consumed as much color work as possible. Pyle's students were some of the best-prepared new entrants into the illustration market, and Pyle's name gave them access to the magazines' pages.
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