Rose Cecil O’Neill
- Born:
- June 25, 1874, Wilkes-Barre, Pennsylvania, U.S.
- Died:
- April 6, 1944, Springfield, Missouri
Rose Cecil O’Neill (born June 25, 1874, Wilkes-Barre, Pennsylvania, U.S.—died April 6, 1944, Springfield, Missouri) was an American illustrator, writer, and businesswoman remembered largely for her creation and highly successful marketing of Kewpie characters and Kewpie dolls.
O’Neill grew up in Battle Creek, Michigan, and in Omaha, Nebraska. The attention she earned with a prizewinning drawing for the Omaha World-Herald, created when she was 14, inspired her to sell other drawings to the newspaper and to the Great Divide magazine of Denver, Colorado. In 1893 she moved to New York City, where she sold drawings to Truth, Puck, Cosmopolitan, and other magazines. In 1896 she married Gray Latham (divorced 1901). During the marriage she signed her work “O’Neill Latham.” In 1902 she married the editor of Puck, Harry Leon Wilson (divorced 1907), and she illustrated several of his books. In addition to her illustrations for Good Housekeeping, Life, Collier’s, and other leading magazines, which brought her a substantial income, she wrote the novels The Loves of Edwy (1904) and The Lady in the White Veil (1909).
O’Neill became wealthy and famous through her Kewpies, sentimental little Cupid figures to which the Ladies’ Home Journal, under the editorship of Edward Bok, devoted a full page in December 1909. The Kewpies and their adventures quickly became a national rage, and from drawing them she moved on to marketing a line of Kewpie dolls, patented in 1913. These modernized American Cupids swept the country, and royalties from their sales and from the books Kewpies and Dottie Darling (1913), Kewpies: Their Book, Verse, and Poetry (1913), Kewpie Kutouts (1914), and Kewpies and the Runaway Baby (1928) allowed O’Neill all the leisure she required for painting in her Washington Square studio or in her villa on Capri; to entertain flamboyantly at Carabas Castle, her home in Westport, Connecticut; and to write poetry and extremely Gothic romances. Her serious drawings, exhibited at the Galerie Devambez in Paris in 1921, helped bring about her election to the Société des Beaux Arts. She also dabbled in monumental sculpture. Late in life, having squandered her money, she retired to Bonnie Brook, her family’s homestead in the Ozark hills of Missouri.
