YOUNG 
 
 MAN’S 
 
 FANCY 
 
Digitized by the Internet Archive 
 in 2018 with funding from 
 Getty Research Institute 
 
 https://archive.org/details/youngmansfancyOOphil 
 
Once in my lady’s 
 
 garden bower 
 I hid me when she 
 came, 
 
 And heard her whisper 
 to a flower 
 
 A secret and a name! 
 
 She held it in her 
 finger-tips 
 
 A little while, and then 
 
 Pressed it against 
 
 her scarlet lips— 
 Kissed it, and said 
 Amen l 
 
O.OU.ES PHI LL IT’S 
 
MANS 
 
 FANCY 
 
 BY 
 
 COLES 
 
 PHILLIPS 
 
 DECORATIONS BY 
 E. STETSON 
 CRAWFORD 
 
 THE 
 
 BOBBS-MERRILL 
 
 COMPANY 
 
 PUBLISHERS 
 
COPYRIGHT 
 
 1912 
 
 THE 
 
 BOBBS-MERRILL 
 
 COMPANY 
 
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TO MY WIFE 
 
 
YOUNG 
 
 MAN’S 
 
 FANCY 
 

 Are you sorceress 
 
 or Circe, 
 
 Never warmth with 
 
 thought of mercy, 
 Calmly binding me 
 within your cruel snare? 
 
 
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COPYRIGHT. 1912. THE BOB8S-MERRILL COMFANY 
 

 
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 Have you charmed 
 
 the tender skies 
 Till they linger 
 
 in your eyes? 
 Have you deftly 
 wound the sunlight 
 in your hair? 
 
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 There’s a wonderful 
 
 stir made 
 
 Each morning at ten. 
 
 For Myrtilla 
 
 a mermaid 
 Is apt to be then; 
 
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 All the sirens 
 
 in rapture 
 
 Salute as they should, 
 
 And old Neptune 
 
 would capture 
 The girl if he could. 
 
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 Swift from the bow 
 
 of morning sped 
 
 One golden dart 
 
 Straight to the fragrant 
 
 blossom red— 
 
 Straight to the garden’s 
 
 heart. 
 
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C. COXES pHI.i’tjI'-P-iS Ip 12 
 
 COPYRIGHT. 1912. THE BOBBS-MERRILL COMPANY 
 
So from your lips— 
 the rosy bow 
 
 Of Love divine— 
 
 Speed the sweet word 
 and bid it go 
 
 Straight to this heart 
 of mine! 
 
 ><♦ ' ■' ' "■ -« ■ 
 
The south wind 
 
 sweeps over the 
 
 hill, little girl, 
 
 Through the 
 
 red clover-blossoms 
 
 it roves; 
 
 The honey-bee’s 
 
 drinking its fill, 
 
 little girl, and is 
 Drunk with the 
 
 nectar it loves. 
 
 
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 BOSbS-MERRILL COMPANY 
 
 COPYRIGHT. 
 

 
clover yields 
 saccharine food 
 
 for the bee, 
 But the warm, 
 loving touch of 
 your lips, little girl, 
 Is a hundred 
 
 times sweeter 
 to me, little girl, 
 Than the nectar 
 
 the honey-bee sips! 
 
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 This way she went, 
 
 Ah me, but it is 
 easy reading— 
 Her glimmering trail 
 across the garden’s 
 green descent; 
 As clear to follow as a 
 flute’s fine note 
 receding. 
 
 
0OBBS-MERRILL COMPANY 
 
 COPYRIGHT. 1912. 
 
Beneath her lissom 
 tread these tangled 
 grasses bent, 
 And here her fragile 
 lace upon a brier 
 impending, 
 
 Left pendulous a rose 
 of thread and 
 perfume blent 
 This way she went. 
 

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 About her when 
 
 she slumbers, 
 Breathe, zephyrs 
 
 of the night, 
 
 And weave of # 
 
 lyric numbers 
 Dreams that shall 
 
 
 bring delight. 
 
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 Sing of the stars above her; 
 And once, ere 
 
 you depart, 
 
 Sing softly that I love her, 
 Dear keeper of 
 
 my heart. 
 
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 I’ve watched while 
 
 other girls made tea, 
 So I’m prepared to judge; 
 No other picture 
 
 quite suits me 
 Like Mabel making fudge. 
 
 
 
 
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THE BOBBS-MCRRH.L COMPACT 
 
And if Dan Cupid 
 
 helps a mite, 
 
 All day I’ll gladly drudge 
 At business, if by 
 
 candle-light 
 My Mabel makes 
 
 my fudge! 
 

 Belinda’s freckles— 
 
 past all doubt 
 The gold within 
 
 her coming out— 
 Are all the wealth 
 
 of which I boast, 
 The Midas stores I 
 
 care for most. 
 
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COLES PHILLIPS 13 i2 
 
 COPYRIGHT. 1912, THE BOBBS-MERRIU. COMPANY 
 
And if for one small, 
 
 slightest piece 
 Of that vast store 
 
 you’d seek release, 
 You could not get it, 
 
 not from me, 
 For all the wealth 
 
 of Kimberley. 
 
 
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 More love or more 
 
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 disdain I crave; 
 
 a, jft 
 
 
 Sweet, be not 
 
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 still indifferent: 
 
 
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 O send me quickly 
 
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 to my grave. 
 
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 Or else afford me 
 
 
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, . . . more content! 
 
 Or love or hate me 
 
 more or less, 
 For love abhors 
 
 all lukewarmness. 
 
 

 When snow on the 
 
 sun-dial lies, 
 And the heart and 
 
 the year seem cold, 
 As the carrier-pigeon flies. 
 I return to the love of old! 
 
 
c ole:s Phillips 
 
 COPYRIGHT. 1912. THE 8O80S-MERRIUL COMPANY 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
Be mine, dear 
 
 Mabel, and I vow, 
 In clear or stormy 
 
 weather, 
 As smoothly as 
 
 we’re gliding now 
 We’ll fare through 
 
 life together. 
 
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 Is it her step, so 
 
 softly sweet 
 Descending as of 
 
 old the stair, 
 
 That step which 
 
 thrills me so? 
 Shall I once more 
 
 A 
 
 my Elsie meet, 
 W My Elsie, seraph- 
 
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 ^ like and fair, 
 
 Who left me long ago? 
 
 
 
 
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 i. THE BOBBS-MERRH.L COMPANY 
 

 
 
 
 
 
 
 
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I wonder if 
 
 yi 
 
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 she will receive 
 Me gladly as she 
 
 used to do, 
 When life was 
 
 all serene; 
 Still as of old 
 
 in me believe; 
 Uplift her eyes, so 
 
 kind and true; 
 And on my 
 
 love yet lean. 
 

 
 
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 I believe all 
 
 % # ' children’s good, 
 
 Ef they’re only 
 A understood,— 
 
 Even bad ones 
 
 ’pears to me 
 ’S jes as good as 
 
 they kin be! 
 
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 Sometimes, when I bin bad, 
 An’ Pa “currecks” me nen, 
 An’ Uncle Sidney 
 
 he comes here, 
 I’m alius good again; 
 
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 ’Cause Uncle Sidney says, 
 An’ takes me up 
 
 an’ smiles,— 
 The goodest mens 
 
 they is ain’t good 
 As baddest little childs! 
 
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 Like a lilac in the spring 
 Is my love, my lady-love; 
 Purple-white, the lilacs fling 
 Scented blossoms 
 
 from above 
 
 
 
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COPYRIGHT. IS 
 

 
 
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 Phyllis is my only joy, 
 Faithless as the 
 
 winds and seas, 
 
 ilk 
 
 Sometimes cunning, 
 
 somtimes coy, 
 Yet she never 
 
 % * fails to please. 
 
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COPYRIGHT. 1912. THE BOBBS-MERRIl-U COMPAPfY 
 
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 If with a frown 
 I am cast down, 
 
 Phyllis smiling 
 And beguiling, 
 
 Makes me happier 
 
 than before. 
 
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 Love in her sunny eyes 
 
 does basking play; 
 
 Love walks the pleasant 
 
 mazes of her hair; 
 
 Love does on both her 
 
 lips forever stray, 
 
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 COLES PHILLIPS 
 
 
 i. Tht BOBBS-MERRILL COMPANY 
 
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 And sows and reaps a 
 
 thousand kisses there; 
 
 In all her outward parts 
 
 Love’s always seen; 
 
 But Oh! he never 
 
 went within. 
 
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and yet, and yet, 
 She drooped her 
 head—ah, sad 
 
 coquette! 
 
 I wonder if ’twas 
 
 nay she meant? 
 The mantling blushes 
 came and went; 
 
 Her eyes with unshed 
 
 tears were wet. 
 
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COPYRIGHT LICK PI 
 
The thought of you is 
 
 like a rose in bloom 
 In some old garden, 
 
 reft of other flowers; 
 And through the heavy, 
 slowly moving hours 
 Your beauty makes 
 
 a glory in the gloom. 
 
Love in thy youth, fair 
 
 maid, be wise; 
 Old Time will make 
 
 thee colder, 
 And though each 
 
 morning new arise, 
 Yet we each day 
 
 grow older. 
 
COPYRIGHT, 
 
 BOBBS-MERRIU. COMPAI'fY 
 
Thou as Heaven art 
 
 fair and young, 
 Thine eyes like 
 
 twin stars shining; 
 
 But ere another 
 
 day be sprung, 
 
 And these will 
 
 be declining. 
 
It is not, Celia, 
 
 in our power 
 
 To say how long 
 
 our love will last; 
 
 It may be we 
 
 within this hour 
 
COPYRIOHT LIFE PUB. CO. 
 
May lose those joys 
 
 we now do taste; 
 
 The Blessed, 
 
 that immortal be, 
 
 From change in love 
 are only free. 
 
COLES PHILLIPS 
 
 AND HIS WORK 
 
Coles Phillips 
 
 T HE creator of The Fadeaway Girl was born 
 in Springfield, Ohio, thirty-one years ago. 
 There was little of the artistic temperament 
 in his early years, rather more of the healthy, fun- 
 loving boy’s capacity to fall into deviltry, and it was 
 not until his college days that he realized that his 
 natural ability to draw might be of use to him. In 
 his efforts to work his way through Kenvon College 
 at Gambier, Ohio, he earned his first money as an 
 artist by illustrating and decorating the college 
 monthly magazine. After his graduation at the age 
 of twenty-one, he went to New York and for some 
 time picked up a varied experience here and there, 
 clerking and working at odd jobs. Later he found 
 employment as solicitor in one of the city’s biggest 
 advertising and designing houses. In this position 
 he represented his chosen field and cultivated a keen 
 business sense and a practical knowledge of commer¬ 
 cial art. 
 
 He soon used this knowledge to good advantage 
 in forming a dozen artists into an advertising or¬ 
 ganization of his own. In this new adventure he 
 was forced to spend so much time as “outside man” 
 on the business end of the concern that his painting 
 suffered from neglect. But he finally responded to 
 the call of the artist in him, retired from the commer¬ 
 cial field, rented a studio, and set out to remedy his 
 lack of technical training by attending the Chase 
 School in the afternoons and the Free Art School on 
 Forty-fourth Street in the evenings. 
 
 On his first drawing Phillips worked a month. 
 “Life” accepted it as a double-page cartoon and pro¬ 
 ceeded at once to look up Phillips. He immediately 
 became a regular contributor, and when “Life” 
 issued colored covers the Fadeaway Girl made her 
 bow to lovers of the daintily feminine. Her success 
 
COLES PHILLIPS 
 
was instantaneous, and her type with its elusive lines 
 and its happy blending of colors, has become famous 
 the country over. So original was the conception 
 that the Fadeaway Girl will always stand for Coles 
 Phillips and Coles Phillips for the Fadeaway Girl. 
 He says, however, that his other achievements with 
 the brush have done more to bring him success than 
 the fadeaway drawings. 
 
 Admirers of the art of Phillips little realize the 
 amount of work required in these apparently simple 
 creations. So much of the surrounding detail is 
 eliminated that it is doubly imperative to show the 
 central figure to its best advantage. Therefore, since 
 his artistic effects must be produced with so few 
 actual lines, every drawing demands the most careful 
 study. To do this with truth to life, Phillips always 
 uses living models. 
 
 The originator of the Fadeaway Girl is not of 
 the long-haired, flowing bow-tie variety of artists, 
 but prides himself on his practicality and enjoys 
 having his friends call him “sane and business-like,” 
 which he is. He lives in New Rochelle, the New 
 York suburb which now has another claim to fame 
 than the fact that it is “Forty-Five Minutes from 
 Broadway,” and there in his studio overlooking Long 
 Island Sound, with his slender, sweet-faced wife 
 as a model, he does much of his best work. For the 
 wife of C. Coles Phillips is the inspiration of the 
 art that has made him famous. America has opened 
 wide her arms to welcome this new creation. The 
 Coles Phillips Girl typifies the subtle charm of 
 American womanhood. In the drawing-room or in 
 the kitchen, breaking hearts or baking pies, or 
 sturdily joying in the mighty stillness of the great 
 outdoors, always alluring, always at home, a real 
 woman from the tip of her dainty boot to the soft 
 glory of her hair, she stands out from her Hat back¬ 
 ground and answers completely to a young’s man’s 
 fancy at its highest and best. 
 


 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

 
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