Description: 1925 MOVIE MOTION PICTURE ROMANCE LOVE PERCY LEE CROSBY LIFE ART COVER FC2103 DATE OF THIS ** ORIGINAL ** ITEM: 1925YOU ARE LOOKING AT AN ORIGINAL LIFE MAGAZINE COVER - SO LOOK CAREFULLY AT PHOTO FOR SIZE AND CONDITION! ILLUSTRATOR/ARTIST: Percy Lee Crosby (December 8, 1891 – December 8, 1964) was an American author, illustrator and cartoonist best known for his comic strip Skippy. Adapted into movies, a novel and a radio show, Crosby's creation was commemorated on a 1997 U.S. Postal Service stamp. An inspiration for Charles Schulz's Peanuts, the strip is regarded by comics historian Maurice Horn as a "classic... which innovated a number of sophisticated and refined touches used later by Charles Schulz and Bill Watterson." Humorist Corey Ford, writing in Vanity Fair, praised the strip as "America's most important contribution to humor of the century". Percy Crosby was born in Brooklyn, New York, prior to the 1898 incorporation of the five boroughs of New York City. He grew up in Richmond Hill, in what would be the borough of Queens but at the time was considered part of Long Island. His father, Thomas Francis Crosby, the son of Catholic immigrants from County Louth, Ireland, was an amateur painter who ran an art supply business. His mother Frances (née Greene), known as Fanny, was of English and Scottish descent. Percy had two younger sisters, Ethel and Gladys. Crosby quit high school during his sophomore year to take a job as an art department office boy at editor Theodore Dreiser's magazine The Delineator. He was quickly promoted to artist, but the job ended after one issue. When he was 17, he sold a drawing to Life for $6. After delivering sandwiches and working as a magazine salesman, he found a position as an editorial cartoonist for the Socialist newspaper the New York Daily Call. There he published his first two comic strips, Biff and The Extreme Brothers—Laff and Sy, but readers became outraged at frivolity in the paper and the strips were pulled. Crosby next became a sports columnist and illustrator at The New York Globe. On the side, he produced comics used as occasional filler for the paper. Eventually fired, he entered an Edison Company contest for the best cartoon on the use of electric light. He won the $75 prize and saw his cartoon appear in every newspaper in New York City. The exposure led to a job at the New York World, "at the time the promised land for aspiring cartoonists". After a few years, he left to freelance, selling cartoons to World editor John Tennant. In 1916, the George Matthew Adams Service syndicated Crosby's first feature, the daily and Sunday strip The Clancy Kids, earning Crosby a respectable $135 a week. While continuing on this first strip, Crosby studied at Manhattan's Art Students League under such instructors as George Bridgman, Frank DuMond, Joseph Pennell and Max Weber. The painter and League president Gifford Beal, recognizing Crosby's talent, invited him to spend the summer in Cape Cod, where Crosby made the acquaintance of Edwin Dickinson, Edward Hopper, Eugene O'Neill and other habitues of the Provincetown, Massachusetts artists colony.[11] Back in New York, he fell in love with fellow League student Gertrude Volz, the artist-sculptor daughter of a well-to-do real-estate broker. After being commissioned a second lieutenant in the Officer Reserve Corps in 1916 and being called to active service the following year, serving for a time as a jiujitsu instructor, he and Volz eloped and were married at the training camp in Plattsburgh, New York, on July 7, 1917. While in training, Crosby created a daily comic panel, That Rookie from the Thirteenth Squad, for the McClure Syndicate, writing and drawing it from the front in France while serving as a first lieutenant in the 77th Division, AEF. The comic was collected into his first two books, That Rookie of the Thirteenth Squad (1917) and Between Shots (1919). While at the Argonne front, Crosby was struck by shrapnel in the eye, suffering no permanent damage, and earned the Pe Heart. Following the war, he resumed his studies and syndicated a series of panel cartoons from 1921 to 1925. These covered a variety of subjects, with some series, such as Who Cares for the Feelings of a Small Boy, The Local Boy, Back o' the Flats, The Little Girl Who Moved Away and Send a Poor Child to the Farm, featuring children, particularly from the slums. One such series, Always Belittlin', presaged Skippy with its star, a child with a striped shawl and a bonnet with a black pop-pom, whose thoughts consisted of the text's daily aphorism. This series and two others, Bugville and Bug Lugs, would eventually run as the supplemental topper feature accompanying the Skippy Sunday strip. Crosby concurrently became a prolific contributor to Life, where several of his cartoons featured a child named Timmy, who became the prototype for Skippy Skinner when Crosby pitched art director Frank Casey about a regular feature. As Crosby recalled, "I drew up three pages and thought of forty-four names (among them Beanie and Jumper)—Skippy last on the list. A minor editor put his oar in and suggested Tiny Tim. I bristled with [sic] such uncalled-for interference, and... the thought flashed through my mind: '[The title] had to be Skippy and nothing else!'" Following a full-page house ad in the March 15, 1923, issue, Skippy premiered in Life and quickly became a success. It became a syndicated comic strip two years later, initially by Johnson Features, Central Press Association and Editors Features Service, before publisher William Randolph Hearst signed Crosby to his King Features Syndicate. King distributed its first daily Skippy on October 7, 1926, and its first Sunday on April 1, 1929. Crosby retained the copyright, a rarity for strip artists of the time.[19] The strip focused on Skippy Skinner, a young boy living in the city. Usually wearing an enormous collar and tie and a floppy checked hat, he was an odd mix of mischief and melancholy who might equally be found stealing from the corner fruit stand, failing to master skates or baseball, complaining about the adult world, or staring sadly at an old relative's grave: "And only last year she gave me a tie." The popular strip at one point guaranteed Crosby $2,350 a week, an enormous sum at the time. Crosby published a Skippy novel and other books; there were Skippy dolls, toys and comic books. The comic was adapted as the 1931 movie Skippy by Paramount Pictures. A hit, it won director Norman Taurog the Academy Award for Best Director, and boosted the career of young star Jackie Cooper, who played the title role. From 1928 to 1937, Crosby produced 3,650 Skippy strips, ten books of fiction, political and philosophical essays, drawings and cartoons, as well as numerous pamphlets, while also mounting a dozen exhibitions in New York City, Washington, D.C., London, Paris and Rome of his oils, watercolors and other paintings and drawings. With its success, he befriended a pantheon of famed creators, including the author Marc Connelly, the humorist Robert Benchley, The New Yorker editor Harold Ross, Life magazine editor and future Pulitzer Prize-winning playwright Robert E. Sherwood, and the cartoonists and painters George McManus, H. T. Webster and Guy Hoff. SPECIAL CHARACTERISTICS/DESCRIPTIVE WORDS: 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. 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