DATE OF THIS ** ORIGINAL ** ITEM: 1915 Penrhyn Stanley Adamson, known as Penrhyn Stanlaws, (1877–1957) was a cover artist[and film director. Sydney Adamson, who also became an illustrator, was his older brother. He was born in Dundee, Scotland. A successful cover artist, he picked Anna Q. Nilsson to become one of his models. He selected female models who toured by automobile to promote Liberty Loans. Stanlaws organized a syndicate to build the Hotel des Artistes at 1 West 67th with a large penthouse studio. He also planned a resort in Port Washington on Long Island but it was never built. He was a fan of the looks of Madge Bellamy. Collier's was an American general interest magazine founded in 1888 by Peter Fenelon Collier. It was launched as Collier's Once a Week, then renamed in 1895 as Collier's Weekly: An Illustrated Journal, shortened in 1905 to Collier's: The National Weekly and eventually to simply Collier's. The magazine ceased publication with the issue dated the week ending January 4, 1957, although a brief, failed attempt was made to revive the Collier's name with a new magazine in 2012. As a result of Peter Collier's pioneering investigative journalism, Collier's established a reputation as a proponent of social reform. After lawsuits by several companies against Collier's ended in failure, other magazines joined in what Theodore Roosevelt described as "muckraking journalism." Sponsored by Nathan S. Collier, a descendant of Peter Collier, the Collier Prize for State Government Accountability was created in 2019. The annual US$25,000 prize is one of the largest American journalism prizes, and it was established to honor Peter Collier’s legacy and contributions in the field of investigative reporting. Peter F. Collier (1849–1909) left Ireland for the U.S. at age 17. Although he went to a seminary to become a priest, he instead started work as a salesman for P. J. Kenedy, publisher of books for the Roman Catholic market. When Collier wanted to boost sales by offering books on a subscription plan, it led to a disagreement with Kenedy, so Collier left to start his own subscription service. P. F. Collier & Son began in 1875, expanding into the largest subscription house in America with sales of 30 million books during the 1900–1910 decade. With the issue dated April 28, 1888, Collier's Once a Week was launched as a magazine of "fiction, fact, sensation, wit, humor, news". It was sold with the biweekly Collier's Library of novels and popular books at bargain rates and as a stand-alone priced at seven cents. By 1892, with a circulation climbing past the 250,000 mark, Collier's Once a Week was one of the best selling magazines in the United States. The name was changed to Collier's Weekly: An Illustrated Journal in 1895 or the longer title Collier's Weekly: An Illustrated Journal of Art, Literature & Current Events. With an emphasis on news, the magazine became a leading exponent of the halftone news picture. To fully exploit the new technology, Collier recruited James H. Hare, one of the pioneers of photojournalism. Collier's only son, Robert J. Collier, became a full partner in 1898. By 1904, the magazine was known as Collier's: The National Weekly. Peter Collier died in 1909. When Robert Collier died in 1918, he left a will that turned the magazine over to three of his friends, Samuel Dunn, Harry Payne Whitney and Francis Patrick Garvan. Robert J. Collier won a lawsuit against Postum Cereal Company and was awarded $50,000 in damages, but in 1912 an appeals court then handed down a majority decision that Postum deserved a new trial. The Postum Company believed that Collier's weekly used magazine coverage to attack their company's products in retaliation for not advertising in Collier's after Collier's wrote against a Grape-Nuts's claim that it was an "A Food for Brain and Nerves." Postum then bought advertising pages in major newspapers in retaliation. The magazine was sold in 1919 to the Crowell Publishing Company, which in 1939 was renamed as Crowell-Collier Publishing Company. Leading illustrators contributed to the covers of Collier's. They included C. C. Beall, W.T. Benda, Chesley Bonestell, Charles R. Chickering, Howard Chandler Christy, Arthur Crouch, Harrison Fisher, James Montgomery Flagg, Alan Foster, Charles Dana Gibson, Vernon Grant, Emil Hering, Earl Oliver Hurst, Alonzo Myron Kimball, Percy Leason, Frank X. Leyendecker, J. C. Leyendecker, Paul Martin, John Alan Maxwell, Ronald McLeod, John Cullen Murphy, Maxfield Parrish, Edward Penfield, Robert O. Reed, Frederic Remington, Anthony Saris, John Sloan, Jessie Willcox Smith, Frederic Dorr Steele, Emmett Watson, Jon Whitcomb and Lawson Wood. Other top illustrators contributed prolifically to their short stories. They included Harold Mathews Brett, Richard V. Culter, Robert Fawcett, Denver Gillen and Quentin Reynolds. In 1903, Gibson signed a $100,000 contract, agreeing to deliver 100 pictures (at $1000 each) during the next four years. From 1904 to 1910, Parrish was under exclusive contract to Collier's, which published his famed Arabian Nights paintings in 1906-07. The magazine's roster of top cartoonists included Charles Addams, Carl Anderson, Stan and Jan Berenstain, Sam Berman, Sam Cobean, Jack Cole, A. B. Frost, Ralph Fuller, Dave Gerard, Vernon Grant, Jay Irving, Crockett Johnson, E. W. Kemble, Hank Ketcham, George Lichty, David Low, Bill Mauldin, Virgil Partch, Mischa Richter, William Steig, Charles Henry "Bill" Sykes, Richard Taylor, Gluyas Williams, Gahan Wilson and Rowland B. Wilson. Irving's association with Collier's began in 1932, and his "Collier's Cops" became a mainstay of the magazine during his 13-year association with it. Kate Osann's Tizzy cartoons first appeared in Collier's. The redheaded Tizzy was a teenage American girl who wore horn-rimmed glasses with triangular lenses. Tizzy was syndicated by NEA after Collier's folded. The cartoons were in color in Collier's but black-and-white in syndication and paperback reprints. After World War II, Harry Devlin became the top editorial cartoonist at Collier's, one of the few publications then displaying editorial cartoons in full color. During the 1940s, Gurney Williams was the cartoon editor for Collier's, American Magazine and Woman's Home Companion, paying $40 to $150 for each cartoon. From a staggering stack of some 2000 submissions each week, Williams made a weekly selection of 30 to 50 cartoons, lamenting: Joseph Barbera, before he found fame in animation, had several cartoons published in Collier's in the late 1920s and early 1930s.
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