![]() ![]() Her work is increasingly in demand by collectors of this genre. "Zula Kenyon was one of the most popular artists of her time and was well known for her richness of color, perfection in drawing, and beauty of composition. In the early days of printing, after Zula painted on canvas, the subject was made into a black and white print, then hand-colored by employees of the calendar company. A peculiarity of her colors and board is that they give her pastel work the strength and brilliancy of oil." (from "Alone" art supplement to the GRIT) Most of Kenyon's subjects were painted before the 1920s and her various themes were: portraits of women, children, a bluebird series, Indian maidens, animals, landscapes and historical subjects. Not being satisfied with the materials to be found in the market, she invented materials of her own, since which she grinds her own colors and makes her own board. ![]() "While handling all mediums with facility, her favorite is the dainty pastel. She then took a few years off and returned for the spring, 1901 session and again for the fall, 1901 session." (from AIC response to a collector's inquiry) From approximately 1900 to 1918 Zula lived in Chicago and worked for the Gerlach-Barklow Company, and became one of their premier artists. Kenyon attended the Art Institute of Chicago in the spring, 1899 term. N° de ref.Zula Kenyon (1873 - 1947) was born in Deansville, Wisconsin to John and Sarah (Clark) Kenyon. ![]() Fetching cover illustration is the equal of those on English language magazines of the era that bring much higher prices. Well, depending on how old you are.Americana, in German. ![]() Published for German-Americans in the mid-20th century, but you don't have to be able to read German to appreciate the covers, the interior color plates in some issues (such as the second Kenyon, here), the craft pages, short fiction (sometimes illustrated), the frequent geographically whimsical articles, music, ads and the excruciatingly home-y black and white photos in Die Hausfrau. A nice example, particularly with the dual Kenyon contribution. She also had a sister Haidee who is also a listed artist. Marcella Holding Volland Raggedy Ann Print Notecard by Zula Kenyon. Just moderate toning to the still-quite-supple interior pages original owner's mailing label. The people: Zula Kenyon was born June 15th, 1873 in Deanville WI to John and Anna Clark Kenyon. Marcella Holding Volland Raggedy Ann Doll Matted Print. Very Good or better small nick at upper right front cover penciled name of front cover, and two on back cover, erasable (scans) and not much else to point to. Here, she gave us an astonishingly feminine and enchanting female image, a nameless mona lisa who literally raises the concept of flapper to an entirely different level of meaning. Cover is - IMHO - one of the most engaging ever executed by the estimable Zula Kenyon, whose pastels were achieved with her own recipes. Kenyon also executed the interior illustration, "Ein Diadem des Felengebirges" (scan). All original print and frame on this ever popular and such a heart warming print by Zula Kenyon titled, Home of the Bluebird. Tall quarto, almost folio, illustrated stapled wraps, 58 pp. Cover - an extraordinarily pretty fraulein, gazing intently at something she likes - is by the estimable Zula Kenyon, whose pastels were achieved with her own recipes. Tall quarto, almost folio, illustrated stapled wraps, 58 pp. The February (Februar), 1931 issue of Die Hausfrau, "Monatsschrift fur die Frauenwelt Amerikas" (roughly, Monthly Review for the American Woman"). ![]()
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