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Circa: 1920's
Condition: Excellent Original Condition
Size: Frame Measurements: Height - 8 ¾” Width - 10 ¾”
Manufacturer: G.P. Co.
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This is an adorable antique print of a sleeping baby, by famous listed artist, "Maud Tousey Fangel". The artist’s signature is in the lower right corner. The bottom left corner of print, reads, "G.P. 8124 Litho in U.S.A. Co.". This print captures the delightful appeal and innocence of a sleeping child. Charming details and wonderful soft colors. The print is in excellent original condition. Original, complimentary, decorative molded wood frame. The frame is also in excellent original condition, along with original glass and wire hanger. Circa 1920’s.
***I have included below, some interesting facts and information on this artist, Maud Tousey Fangel:
In the 1930s, '40s, and '50s -- if you saw a sketch or portrait of a child on the cover of Ladies Home Journal or Woman's Home Companion, or inside the magazines advertising, say, Colgate's Talc Powder, Cream of Wheat, or Squibb's Cod Liver Oil, you were probably seeing the work of Maud Tousey Fangel. For a good part of the first half of the twentieth century Ms. Fangel was the children's artist in our country -- her illustrations of ruddy-cheeked, doe-eyed, curly-locked children were everywhere. They set the standard for their day and made Ms. Fangel a kind of celebrity -- the subject of frequent feature articles and a much in demand children's portrait painter.
Maud Tousey was born on January 1st, 1881, the daughter of a Professor of Divinity at Tufts College. She began drawing in earnest when she was a teenager. After college, she was presented her portfolio to an art director of Good Housekeeping, Guy Fangel, who gave her her first commercial assignments and later proposed marriage to her. Their son, Lloyd, began Ms. Fangel's fascination with drawing babies -- she did more than 1500 pictures of him before he was three -- and later she would immortalize his face as the boy on the Cracker Jack box.
Many of Ms. Fangel's pictures were done in pastels, which allowed her to capture the movements of her young subjects in swift, impressionistic strokes. Most of Ms. Fangel's models were children from poor families, from orphanages, and settlement houses. Unaware of this, one newspaper referred to these children as "glamour babies." But Ms. Fangel understood the youngsters who sat and wiggled and dozed in the high chair for her a little more deeply than the correspondent: "I have a strange, persistent feeling that babies have a consciousness that we do not possess," she wrote. "They seem not yet to have lost an intelligence brought with them from another world. They are still wrapped in the mystery of their source."
- This article was cited from: recess.ufl.edu/transcripts/2003/0102.shtml |
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