{"title":"Antique Illustration Art","description":"","products":[{"product_id":"dragon-princess-by-elenore-abbott","title":"Elenore Abbott's Dragon Princess (1920): beautifully framed antique book illustration","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv\u003e\n\u003cspan\u003e\u003cstrong\u003e\"The King's daughter had been carried away by a dragon\"\u003c\/strong\u003e\u003c\/span\u003e\u003cspan\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003cspan\u003e\u003c\/span\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cspan\u003e     For \u003cem\u003eGrimm’s Fairy Tales - Selected and Illustrated \u003c\/em\u003e\u003c\/span\u003e\u003cspan\u003e\u003cem\u003e\u003c\/em\u003eby Elenore\u003cem\u003e A\u003c\/em\u003ebbott.\u003cbr\u003e\u003c\/span\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e     Illustrations by Elenore Plaisted Abbott\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e     New York. Charles Scribner's Sons. 1920.\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003cspan\u003eIMAGE INFORMATION\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e     Image Size: H 9.00” x W 7.50”\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e     Matted \u0026amp; Framed:  H 16.00” x W 13.00”\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e     Framed Price: $195.00\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cspan\u003e\u003cspan\u003e     \u003c\/span\u003e\u003c\/span\u003eWhiteglove packaging and shipping approximately $25.00\u003cspan\u003e    \u003c\/span\u003e​\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eImportant as EPA's formal training was at PAFA, with Howard Pyle, and at the Académie Colarossi in Paris, her association with other artists in Philadelphia’s vibrant art community was probably more a significant factor in her artistic development. EPA probably joined the Plastic Club on Comac Street in late-1899 or early in 1900 while working on \u003cem\u003eThat Mainwaring Affair\u003c\/em\u003e. By the time she completed her second project in 1906, she was moving away the bland storytelling compositions she had gleaned from Howard Pyle. Her lines were beginning to flow, her colors were becoming vibrant, and she was beginning to exhibit her flair for design. These qualities of her style reached their peak in the nine Illustrations EPA created for the \u003cem\u003eGrimm’s Fairy Tales\u003c\/em\u003e edition Charles Scribner’s Sons brought out in 1920. Of these, in my opinion, \"The Princess and the Dragon\" is the most alluring. While EPA’s work was stylish and beautiful, this book was the only one EPA did for Scribner.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"AntiqueIllustrationArt.com","offers":[{"title":"Default Title","offer_id":13608045674592,"sku":"","price":195.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0261\/8105\/products\/1-59_Frontispeice_Grimm_s_FairyTales_Elenore_Abbott-1920_Wiki.jpg?v=1541520492"},{"product_id":"kodak-camera-advertisement","title":"Elizabeth Shippen Green Kodak advertisement (1906): a rare, beautifully framed antique","description":"\u003cmeta charset=\"utf-8\"\u003e\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003cstrong\u003eAdvertisement: Kodak Cameras \u003c\/strong\u003e\u003cbr\u003e    By Elizabeth Shippen Green\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e    For the Eastman Kodak Co.\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cspan\u003e    The ad appeared in a 1906 issue of \u003cem\u003eCountry Life in America\u003c\/em\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/span\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003cem\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003cem\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003cspan\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cspan\u003e\u003cspan\u003e\u003cstrong\u003eIMAGE INFORMATION\u003c\/strong\u003e\u003cbr\u003e    Image Size: H 13.00” x W 9.50”\u003cbr\u003e    Matted \u0026amp; Framed:  H 17.50” x W 13.50”\u003cbr\u003e    Framed Price: $275.00  \u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cmeta charset=\"utf-8\"\u003e\n\u003cspan\u003e\u003cstrong\u003e\u003c\/strong\u003e    Whiteglove packaging and shipping approximately $35.00\u003c\/span\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e-\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003eElizabeth Shippen Green began her spectacular career prior to the turn of the century. During her first seven years, she created illustrations for the leading magazines of the day, including \u003cem\u003eThe Saturday Evening Post\u003c\/em\u003e,\u003cem\u003e St. Nicholas\u003c\/em\u003e, \u003cem\u003eThe Woman’s Home Companion\u003c\/em\u003e, and \u003cem\u003eThe Ladies’ Home Journal\u003c\/em\u003e. By 1902, however, her reputation was strong enough for \u003cem\u003eHarper’s Magazine\u003c\/em\u003e to recruit her as its first female staff artist. It seems she remained with Harper’s through her retirement in 1925. Her contract prevented her from creating illustrations for Harper’s competitors, but it did not prevent her from creating advertisements for commercial products or illustrations for books. This Kodak ad reportedly appeared in a 1906 issue of \u003cem\u003eCountry Life in America\u003c\/em\u003e. It was the second and last one she did for the camera maker. It seems odd that a manufacturer of cameras would commission an artist to advertise its products. But inspection of ESG’s charming scene settles the matter - no camera could duplicate the warmth or the intimacy the artist conveys with her artistry. EGS builds these psychologically powerful marketing sentiments on a Howard Pyle-like storytelling composition, which she enhances with her graphics and brilliant coloring. Not long after this, however, Eastman Kodak abandoned artist imaging in its advertisements and replaced it with photography.\u003c\/div\u003e","brand":"AntiqueIllustrationArt.com","offers":[{"title":"Default Title","offer_id":13609086812256,"sku":"","price":275.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0261\/8105\/products\/20181024_180548.jpg?v=1541607034"},{"product_id":"palmolive-soap-advertisement-by-coles-philips","title":"Coles Philips Palmolive Soap advertisement(1919): rare, beautifully framed antique","description":"\u003cstrong\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/strong\u003e\u003cstrong\u003ePalmolive\u003c\/strong\u003e\n\u003cdiv\u003e\n\u003cspan\u003e\u003cspan\u003e\u003cstrong\u003e\u003c\/strong\u003e    \"The Oldest of Toilet Requisites\"\u003cbr\u003e    Full-page color advertisement from the May 1919\u003cbr\u003e    \u003cem\u003eLadies' Home Journal\u003c\/em\u003e\u003cbr\u003e    Illustrated by Coles Philips\u003cbr\u003e    For The Palmolive Company\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eIMAGE INFORMATION\u003c\/strong\u003e\u003cbr\u003e    Image Size: H 15.00” x W 9.50”\u003cbr\u003e    Matted \u0026amp; Framed:  H 21.00” x W 15.50”\u003cbr\u003e    Framed Price: $300.00  \u003cbr\u003e    P\u003c\/span\u003e\u003c\/span\u003eackaging and shipping approximately $25.00\n\u003cp\u003e \u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp style=\"margin: 0in 0in 12.0pt 0in;\"\u003e\u003cspan style=\"font-size: 11.5pt; font-family: 'Helvetica Neue'; color: black;\"\u003eAccording to one informed source, at the turn of the last century, Palmolive Soap was the nation’s leading soap product. It was actively advertised then as it continues to be to this day. In the first years of the last century, before image colorization was not yet commercially available, advertisers focused on providing information about their product. These information transfers were commonly enhanced with graphics—hand drawn picture of the product itself were common. Ten years later, technology had improved and color imaging was available. Graphics could therefore be more sophisticated. They showed often individuals, usually smiling women, using the advertiser's product. But as the decade wore on, characters featured in advertisements became less involved featuring the advertiser's product and more\u003c\/span\u003e\u003cspan style=\"font-size: 11.5pt; font-family: 'Helvetica Neue'; color: black;\"\u003e\u003cspan\u003e involved in performing some function of their daily lives\u003c\/span\u003e. In this subtle way an advertiser made its product part of the viewer’s daily life.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"margin: 0in 0in 12.0pt 0in;\"\u003e\u003cspan style=\"font-size: 11.5pt; font-family: 'Helvetica Neue'; color: black;\"\u003eManaging the psychology of the consumer was, in other words, becoming an the essence of product marketing.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"margin: 0in 0in 12.0pt 0in;\"\u003e\u003cspan style=\"font-size: 11.5pt; font-family: 'Helvetica Neue'; color: black;\"\u003eCole Phillips’s 1919 Palmolive Soap advertisement perfectly illustrates the marketing revolution that took place during the 1910s. D\u003c\/span\u003e\u003cspan\u003euring these years, t\u003c\/span\u003ehe Palmolive Company realized that it could shape public opinion in favor of its soap by incorporating into its advertisements cherished human ideals like, for example, being beautiful and being happy. The same for being wealthy and living in luxury. These things in mind, the Palmolive Company commissioned Coles Phillips who responded with this picture showing the Dove of Beauty obediently alighting on the outstretched hand of a Cleopatra-like princess. CP understood how to shape consumer psychology. His image was so powerful that words were not necessary. The soap, as they say, flew off the selves.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"AntiqueIllustrationArt.com","offers":[{"title":"Default Title","offer_id":13609136226400,"sku":"","price":300.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0261\/8105\/products\/Palmolive-Cleopatra_Phillips_1919.jpg?v=1541615356"},{"product_id":"colliers-cover-with-robert-wildhack-illustration","title":"Robert Wildhack cover illustration for \"Collier's Weekly\" (1910): rare, beautifully framed antique","description":"\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003e\u003cstrong\u003eCOVER:\u003c\/strong\u003e\u003c\/span\u003e\u003cem\u003e\u003cstrong\u003e Collier's – The National Weekly\u003c\/strong\u003e\u003c\/em\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cp\u003e    Image Name: Country Lanes\u003cbr\u003e     Robert Wildhack\u003cbr\u003e     May 9, 1910 Issue\u003cbr\u003e     Vol. xlv, No. 11\u003cbr\u003e    \u003cbr\u003e \u003cstrong\u003eIMAGE INFORMATION​\u003c\/strong\u003e\u003cbr\u003e     Image Size: H 15.00” x W 11.00”\u003cbr\u003e     Matted \u0026amp; Framed:  H 22.00” x W 18.00”\u003cbr\u003e     Framed Price: $290.00\u003cbr\u003e     Packaging and shipping\u003cbr\u003e        approximately $25.00 \u003c\/p\u003e\n\u003cp\u003eRJW was born in Illinois, but grew up in Indiana. He moved to New York in 1901 where he spent a year studying art with Robert Henri at the Chase School of Art. His classmates there included Glenn O. Coleman, Walter Jack Duncan, Rockwell Kent, Coles Phillips, and Edward Hopper.\u003c\/p\u003e\n\u003cp\u003e            He eventually found work at one the city's advertising agencies. While there, his work caught the eye McClure’s editor, who commissioned him to do his first cover illustrations. During his career, he produced cover and story illustrations for most of the popular magazines of the time, including McClure's, Success, The Century, Scribner's, Life, and Collier's.\u003c\/p\u003e\n\u003cp\u003e            In about 1910, Wildhack joined the Society of Illustrators. This brought him in contact with Charles Dana Gibson, President of the S-o-I and dean America’s Illustrators. In 1917, Gibson recruited RJW into his legion at the Division of Pictorial Publicity in President Wilson’s newly formed the Committee on Public Information. As a member of the DPP, Wildhack worked with other of the country’s best illustrator\/admen designing propaganda art to support “our boys over there” during WWI. Four years before joining the DPP, RJW became a member of the Salmagundi Club, which was the center of art and society for America’s illustrators in the pre-war years.\u003c\/p\u003e\n\u003cp\u003e            RJW moved to California in 1920. Terence E. Hanley continues the story: “During the thirties, he hosted his own radio show and reprised his early routines on stage and in the movies. In Life Begins at 8:40, a Broadway hit during 1934-1935, Wildhack gave a comic lecture on ‘Sound Phenomena,’ scientifically classifying snores such as “2d,” The Westinghouse Airbrake, and “2f,” The Troubled Conscious. As Professor Hornblow, he repeated the routine in \u003cem\u003eBroadway Melody\u003c\/em\u003e of 1936 (1935), starring Jack Benny and Eleanor Powell.  In \u003cem\u003eBroadway Melody\u003c\/em\u003e of 1938 (1937), Wildhack went from snorer to sneezer. He played a somewhat less comic role as Rudolph Herzing in \u003cem\u003eBack Door to Heaven \u003c\/em\u003ein 1939.” [See: http:\/\/indianaillustrators.blogspot.com\/2011\/01\/robert-j-wildhack-1881-1940.html.]\u003c\/p\u003e\n\u003cp\u003e            Like other of his contemporaries, RJW was influenced by the changing trends in Fine Arts during the late-19th and early-20\u003csup\u003eth\u003c\/sup\u003e centuries. His use of flat color fields without lines reflects his interest in artistic design, which became increasingly popular in the first decades of the new century. His cover illustration for \u003cem\u003eCollier’s\u003c\/em\u003e July 9, 1910 issue highlights the carefree atmosphere Americans were enjoying before the Great War. The artist uses a stylish design rather than an illustrated composition to convey his idea to his audience. The image’s flat, untextured color fields suggest that it is a chromolithographs. RJW may have created the original image on a plate, which he inked with olive green, bronze ochre, and black inks. The khaki hue of the fence, the goose, and m’ lady’s hat may be the colored of the un-inked paper.\u003c\/p\u003e\n\u003cp\u003e            Since the image appeared on thousands of magazine covers, a photo-mechanical process was surely used to place it there. This probably involved photographing the original piece four times, each with a different color filter. Each of the four shaded negatives produced in the photographic process would have been used to project an image with different colored characteristics onto a printing plate treated with a light-sensitive gel. When light from the uncolored areas of the negative struck the gel it hardened. The gel on the shaded areas of the printing plate remained soluble. When the soluble gel was cleaned away, troughs remained which could be filled with ink.\u003c\/p\u003e\n\u003cp\u003e            Each of the four printing plates would then have been inked with its own color. The cover page would have been run across each of these four inked plates, and it the four passes, the artist’s full colored image would have been reproduced. The absence of pixels shows that halftone screens were not used in this reproduction process.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"AntiqueIllustrationArt.com","offers":[{"title":"Default Title","offer_id":13609157787744,"sku":"","price":300.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0261\/8105\/products\/Collier_s-Mini_Wildhack.jpeg?v=1541616095"},{"product_id":"framed-colliers-magazine-cover-by-jessie-willcox-smith","title":"Jessie Willcox Smith cover illustration for \"Collier's Weekly\" (1907): rare, beautifully framed 1907 Collier's magazine antique","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv\u003e\n\u003cspan\u003e\u003cspan\u003e\u003cstrong\u003eImage Title: \"The Sewing Lesson\"\u003c\/strong\u003e\u003cbr\u003e    By Jessie Willcox Smith\u003cbr\u003e    On the December 28, 1907 Issue\u003cbr\u003e    Vol. xl No. 14\u003cbr\u003e   \u003cbr\u003e\u003cstrong\u003eIMAGE INFORMATION\u003c\/strong\u003e\u003cbr\u003e    Image Size: H 15.00” x W 11.00”\u003cbr\u003e    Matted \u0026amp; Framed:  H 22.00” x W 18.00”\u003cbr\u003e    Framed Price: $290.00  \u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv\u003e\n\u003cspan\u003e    Whiteglove packaging and shipping\u003c\/span\u003e\u003cspan\u003e approximately $35.00\u003c\/span\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp\u003e.\u003c\/p\u003e\n\u003cp\u003eAfter completing her studies at the Pennsylvania Academy of the Fine Arts in1888, Smith joined the advertising staff of Philadelphia-based \u003cem\u003eLadies Home Journal\u003c\/em\u003e. While she was making her way as an artist, it seems she was not satisfied with her career . In 1894, while still at the LHJ, she enrolled in the illustration class Howard Pyle began teaching at the Drexel Institute. She later credited Pyle with sweeping away \"the cobwebs and confusions that so beset the path of the art-student.\" Virtually all JWS’s early works were pen and inks shaded with washes. Most were probably reproduced photographically with steadily improving the halftone process. By 1905, color separation technology was good enough for JWS to fill her illustrations for a new edition of Robert Louis Stevenson’s \u003cem\u003eA Child’s Garden of Verses \u003c\/em\u003ewith color. This book marks the beginning of her fame as a child illustrator. It also marks the beginning of \"the age of color\" for illustrated books. JWS intended her 1907 cover for \u003cem\u003eCollier’s\u003c\/em\u003e to broaden her audience from young mothers to women in the home. She was very successful in this regard - between 1917 and 1933, she created 184 covers for \u003cem\u003eGood Housekeeping Magazine.\u003c\/em\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e","brand":"AntiqueIllustrationArt.com","offers":[{"title":"Default Title","offer_id":13609160638560,"sku":"","price":290.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0261\/8105\/products\/JWS_Sewing_Lesson.jpg?v=1541616760"},{"product_id":"rare-and-beautifully-framed-colliers-magazine-cover-by-charles-dana-gibson","title":"\"Gibson Girl\" cover illustration for \"Collier's Weekly\" (1909): a beautifully framed antique","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan\u003eCover: \u003cem\u003eCollier’s - \u003c\/em\u003e\u003c\/span\u003e\u003cem\u003eFiction Number for November\u003c\/em\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e    By Charles Dana Gibson\u003cbr\u003e    October 30, 1909 Issue\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cspan\u003e\u003cspan\u003e    Vol. XLIV No. 6\u003cbr\u003e   \u003cbr\u003e\u003cstrong\u003eIMAGE INFORMATION\u003c\/strong\u003e\u003cbr\u003e    Image Size: H 15.00” x W 11.00”\u003cbr\u003e    Matted \u0026amp; Framed:  H 22.00” x W 18.00”\u003cbr\u003e    Framed Price: $285.00  \u003cbr\u003e   \u003c\/span\u003e\u003c\/span\u003e\u003cmeta charset=\"utf-8\"\u003e\n\u003cspan\u003e Packaging and shipping approximately $25.00\u003c\/span\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eIt is interesting to note that Charles Dana Gibson’s long career began with a string of failures. These early setbacks were over by 1890 when the artist published his first “Gibson Girl” drawing. By the end of the decade, the Art of had entered its \u003cspan\u003eGolden Age and the Gibson Girl had made \u003c\/span\u003eCDG the leader of America's Illustrators community. Nine years later, when he produced his cover illustration for \u003cem\u003eCollier’s\u003c\/em\u003e November 1909 fiction issue, the Gibson Girl was fighting hard to hold her exalted ground against a bevy of younger rivals. these included Coles Philips's “Fadeaway Girl,” James Montgomery Flagg’s “Yankee Girl,” Harrison Fisher’s “American Girl,” and Howard Chandler Christy’s “Christy Girl.” While the blush was fading from the Gibson Girl’s cheeks, the artist carried her along as he presided as President of the newly formed Society of Illustrators. But when the Great War started in Europe in 1914, CDG allowed her to retire. He then shifted his attention to the war and rousing public resentment against Germany’s aggression against France and humanity. In 1917, CDG agreed to head President Wilson's newly formed Division of Pictorial Publicity. During the next two years, as he organized and directed a legion of illustrators in their effort to build support for the war against Germany, the lovely Gibson Girl finally faded from view.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"AntiqueIllustrationArt.com","offers":[{"title":"Default Title","offer_id":13609216901216,"sku":"","price":285.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0261\/8105\/products\/Gibson_Collier-vol_44_No-6_10-30-09.jpg?v=1541619505"},{"product_id":"rare-and-beautifully-framed-life-magazine-cover-by-coles-philips","title":"Coles Phillips Fadeaway Girl cover for \"Life\" (1911): rare, beautifully framed antique","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 11.5pt; font-family: 'Helvetica Neue'; color: black;\"\u003eCover Illustration title: \"A Troublesome Toy\"            \u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp style=\"margin: 0in 0in 12.0pt 0in;\"\u003e\u003cspan style=\"font-size: 11.5pt; font-family: 'Helvetica Neue'; color: black;\"\u003e     By Coles Phillips\u003cbr\u003e     September 28, 1911 issue\u003c\/span\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eIMAGE INFORMATION\u003c\/strong\u003e\u003cstrong\u003e\u003cbr\u003e    \u003c\/strong\u003e Image Size: H 12.00” x W 10.00”\u003cbr\u003e     Matted \u0026amp; Framed:  H 18.00” x W 16.00”\u003cbr\u003e     Framed Price: $300.00  \u003cbr\u003e    P\u003cspan\u003eackaging and shipping\u003c\/span\u003e\u003cspan\u003e approximately $35.00\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eLife\u003c\/em\u003e magazine’s managing editor, John Ames Mitchell, met and hired CP in 1907. At \u003cem\u003eLife\u003c\/em\u003e, the young artist worked alongside one of the country’s most popular and influential illustrators, being Charles Dana Gibson.\u003c\/p\u003e\n\u003cp\u003eBeginning in the early 1890s, Gibson had achieved fame with deft pen and ink sketches of a new species of American woman. CBG said once that he encountered her on every street corner in New York, the smart, beautiful and independent female cosmopolitan.\u003c\/p\u003e\n\u003cp\u003eWhen CP arrived in the city, the Gibson Girl was about to enter her second decade. Not only had cosmopolitan New York changes, so had the technology used by magazines like \u003cem\u003eLife.\u003c\/em\u003e Design and color were replacing line and form. Focusing on these things, CP devised a visual deception in which he merged the bodies of his subjects into the color field of his illustration's background.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eLife’s\u003c\/em\u003e readers were delighted by CP’s ingenious innovation. So popular was his “Fadeaway Girl” that CP continued to rely on her through his long career. The one he created for the September 28, 1911 issue is one his finest early caricatures.\u003c\/p\u003e","brand":"AntiqueIllustrationArt.com","offers":[{"title":"Default Title","offer_id":13610272915552,"sku":"","price":300.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0261\/8105\/products\/Life_Philips_1911.jpg?v=1541987144"},{"product_id":"rare-beautifully-framed-saturday-evening-post-cover-by-guernsey-moore","title":"Guernsey Moore cover illustration for \"The Saturday Evening Post\" (1905): rare, beautifully framed antique","description":"\u003cmeta charset=\"utf-8\"\u003e\u003cspan style=\"font-weight: bold;\"\u003eTitle of Issue:\u003c\/span\u003e The Open Season\n\u003cdiv\u003e\n\u003cspan\u003e\u003cspan\u003e    By Guernsey Moore \u003cbr\u003e    November 25, 1905 Issue\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eIMAGE INFORMATION\u003c\/strong\u003e\u003cbr\u003e    Image Size: H 15.00” x W 11.00”\u003cbr\u003e    Matted \u0026amp; Framed:  H 22.00” x W 18.00”\u003cbr\u003e    Framed Price: $275.00\u003cbr\u003e  \u003cstrong\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cmeta charset=\"utf-8\"\u003e\n\u003cspan\u003e\u003cstrong\u003e  \u003c\/strong\u003eWhiteglove packaging and shipping approximately $35.00\u003c\/span\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eGuernsey Moore was born in Germantown, Pennsylvania four years after Maxfield Parrish. Like Parrish, Moore attended the Pennsylvania Academy of the Fine Arts and may have overlapped with Parrish while he was taking classes there.\u003c\/p\u003e\n\u003cp\u003eGM's early works reflect Parrish’s poster-like style with their emphasis on graphic design. By 1905, Moore was also experimenting with photographic image reproduction, which was then commercially available. Rather than abandon graphic design, he merged elements of photo-realism with his design method. The results were dramatic as can be seen in the cover image he created for \u003cem\u003eThe Post’s\u003c\/em\u003e April 15, 1905 issue.\u003c\/p\u003e\n\u003cp\u003eThe first of the sixty-three covers GM produced for \u003cem\u003eThe Saturday Evening Post \u003c\/em\u003eappeared on June 30, 1900. In 1904, \u003cem\u003eThe Post's \u003c\/em\u003emanaging editor, G. H. Lorimer, named GM as the magazine's first Art Editor. In this position, Moore helped steer trends in Illustration Art for the next two decades. His final cover for \u003cem\u003eThe Post\u003c\/em\u003e appeared on the January 19, 1924. Poor health forced him into retirement shortly after that. He died the following year.\u003c\/p\u003e\n\u003cp\u003eIn 1900, GM re-designed the magazine's masthead and introduced its now-familiar letting. After becoming Art Editor, he directed production of the magazine's first \"color\" cover. These colors were Black, Red, and White with shading as seen in his November 25, 1905 cover. Maxfield Parrish's influence on GM is also strongly reflected in this cover.\u003c\/p\u003e\n\u003cp\u003eDuring his working career, GM also served as the art director of \u003cem\u003eCountry Gentleman\u003c\/em\u003e magazine, the Beck Engraving Company, George L. Boyer Company, and Calkins \u0026amp; Holden. \u003c\/p\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003c\/div\u003e","brand":"AntiqueIllustrationArt.com","offers":[{"title":"Default Title","offer_id":13610860380256,"sku":"","price":275.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0261\/8105\/products\/GMoore_112505_Post_Cover.jpg?v=1542590926"},{"product_id":"rare-beautifully-framed-saturday-evening-post-cover-by-guernsey-moore-1","title":"Guernsey Moore cover illustration for \"The Saturday Evening Post\" (1905): rare, beautifully framed antique","description":"\u003cmeta charset=\"utf-8\"\u003e\u003cstrong\u003e\u003cspan\u003eCover Title:\u003c\/span\u003e\u003c\/strong\u003e \"The Wood Fire\"\n\u003cdiv\u003e\n\u003cspan\u003e\u003cspan\u003e    By Guernsey Moore \u003cbr\u003e    April 15, 1905 Issue\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eIMAGE INFORMATION\u003c\/strong\u003e\u003cbr\u003e    Image Size: H 15.00” x W 11.00”\u003cbr\u003e    Matted \u0026amp; Framed:  H 22.00” x W 18.00”\u003cbr\u003e    Framed Price: $275.00\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cmeta charset=\"utf-8\"\u003e\n\u003cspan\u003e\u003cstrong\u003e\u003c\/strong\u003e   Whiteglove packaging and shipping approximately $35.00\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp\u003eGuernsey Moore was born in Germantown, Pennsylvania four years after Maxfield Parrish. Like Parrish, Moore attended the Pennsylvania Academy of the Fine Arts and may have overlapped with Parrish while he was taking classes there.\u003c\/p\u003e\n\u003cp\u003eGM's early works reflect Parrish’s poster-like style with their emphasis on graphic design. By 1905, Moore was also experimenting with photographic image reproduction, which was then commercially available. Rather than abandon graphic design, he merged elements of photo-realism with his design method. The results were dramatic as can be seen in the cover image he created for \u003cem\u003eThe Post’s\u003c\/em\u003e April 15, 1905 issue.\u003c\/p\u003e\n\u003cp\u003eThe first of the sixty-three covers GM produced for \u003cem\u003eThe Saturday Evening Post \u003c\/em\u003eappeared on June 30, 1900. In 1904, \u003cem\u003eThe Post's \u003c\/em\u003emanaging editor, G. H. Lorimer, named GM as the magazine's first Art Editor. In this position, Moore helped steer trends in Illustration Art for the next two decades. His final cover for \u003cem\u003eThe Post\u003c\/em\u003e appeared on the January 19, 1924. Poor health forced him into retirement shortly after that. He died the following year.\u003c\/p\u003e\n\u003cp\u003eIn 1900, GM re-designed the magazine's masthead and introduced its now-familiar letting. After becoming Art Editor, he directed production of the magazine's first \"color\" cover. These colors were Black, Red, and White with shading as seen in his November 25, 1905 cover. \u003c\/p\u003e\n\u003cp\u003eDuring his working career, GM also served as the art director of \u003cem\u003eCountry Gentleman\u003c\/em\u003e magazine, the Beck Engraving Company, George L. Boyer Company, and Calkins \u0026amp; Holden. \u003c\/p\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003c\/div\u003e","brand":"AntiqueIllustrationArt.com","offers":[{"title":"Default Title","offer_id":13610934763616,"sku":"","price":275.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0261\/8105\/products\/GMoore_041505_Post_Cover.jpg?v=1542502600"},{"product_id":"rare-beautifully-framed-saturday-evening-post-magazine-cover-by-sarah-stilwell","title":"Sarah Stilwell cover illustration for \"The Saturday Evening Post\" (1915): rare, beautifully framed antique","description":"\u003cmeta charset=\"utf-8\"\u003e\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003cstrong\u003eIMAGE TITLE: \u003c\/strong\u003e\u003cstrong\u003eTwo Girls Skipping Rope\u003c\/strong\u003e\u003cbr\u003e    Sarah Stilwell    \u003cbr\u003e    \u003cem\u003eThe Saturday Evening Post   \u003c\/em\u003e \u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e    June 15, 1915 Issue\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003cstrong\u003eIMAGE INFORMATION\u003c\/strong\u003e\u003cbr\u003e    Image Size: H 15.00” x W 11.00”\u003cbr\u003e    Matted \u0026amp; Framed:  H 22.00” x W 18.00”\u003cbr\u003e    Framed Price: $275.00\u003cbr\u003e    Packaging and shipping\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e       approximately $25.00\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e \u003c\/div\u003e\n\u003cp\u003e\u003cstrong\u003e\u003c\/strong\u003eIn 1902, SS received a commission from \u003cem\u003eCentury Magazine \u003c\/em\u003eto illustrate Josephine Daskin's poem, \"Christmas Hymn of Children.\" The request was for an image conveying the mood of the poem and a graphic to embellish the text. Readers of Collier’s June issue did not know they were viewing an artistic transformation. In the halftone B\u0026amp;W lithograph that appears in this magazine, the artist has dropped the wooden form that defined her work in 1898. In its place, she is exploring the inner life of her subjects. This was, of course, what Pyle had encouraged her to do.\u003c\/p\u003e\n\u003cp\u003eThe following year she proved she had completed the transformation of her art and mastered Pyle’s approach. She did this in a pictorial essay which appeared in \u003cem\u003eSt. Nicholas’s \u003c\/em\u003eDecember 1903 issue. The magazine’s pace-setting editor, Mary Mapes Dodge, published half a dozen of SS’s drawings in a piece called “Happy Days.” In these pictures, SS softened her compositions and highlighted her characters.\u003c\/p\u003e\n\u003cp\u003e1904 was, as we now say, a breakout year for Sarah Stilwell. Her connection with Mary Mapes Dodge strengthened as she completed a second commission, this one to illustrate a new issue in Dodge’s Rhymes and Jingle series.\u003c\/p\u003e\n\u003cp\u003eThere and thereafter, SS’s images reflect the styles of her female artist friends at the Plastic Club in Philadelphia, most notably Jessie Willcox Smith. \"Design” becomes a common descriptor in discussions of her work. She is frequently complimented for her interpretation of the “Art Nouveau” trend that was influential in the early decades of the 20\u003csup\u003eth\u003c\/sup\u003e century. These characteristics of her mature style reflect the cross-pollinations that were constantly occurring in the community of artists Howard Pyle gathered around him in the last years of the 19\u003csup\u003eth\u003c\/sup\u003e century and first years of the 20\u003csup\u003eth\u003c\/sup\u003e century. \u003c\/p\u003e\n\u003cp\u003eSS's 1915 cover illustration is an excellent example of her mature style in which she emphasized children playing happily.\u003c\/p\u003e","brand":"AntiqueIllustrationArt.com","offers":[{"title":"Default Title","offer_id":13610956718176,"sku":"","price":275.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0261\/8105\/products\/SSW_Post_Cover_1915-1.jpg?v=1542240434"},{"product_id":"rare-beautifully-framed-saturday-evening-post-cover-by-sarah-stilwell","title":"Sarah Stilwell cover illustration for \"The Saturday Evening Post\" (1915): rare, beautifully framed antique","description":"\u003cmeta charset=\"utf-8\"\u003e\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003cstrong\u003eIMAGE TITLE: Squirrel on Branch with Girl Below\u003cbr\u003e  \u003c\/strong\u003e  Sarah Stilwell \u003cbr\u003e    \u003cem\u003eSaturday Evening Post\u003c\/em\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e    December 18, 1915 Issue\u003c\/span\u003e\u003c\/div\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eIMAGE INFORMATION\u003c\/strong\u003e\u003cbr\u003e     Image Size: H 15.00” x W 11.00”\u003cbr\u003e     Matted \u0026amp; Framed:  H 22.00” x W 18.00”\u003cbr\u003e     Framed Price: $290.00\u003cbr\u003e     Packaging and shipping approximately $25.00\u003c\/p\u003e\n\u003cp\u003eIn 1902, SS received a commission from \u003cem\u003eCentury Magazine \u003c\/em\u003eto illustrate Josephine Daskin's poem, \"Christmas Hymn of Children.\" The request was for an image conveying the mood of the poem and a graphic to embellish the text. Readers of Collier’s June issue did not know they were viewing an artistic transformation. In the halftone B\u0026amp;W lithograph that appears in this magazine, the artist has dropped the wooden form that defined her work in 1898. In its place, she is exploring the inner life of her subjects. This was, of course, what Pyle had encouraged her to do.\u003c\/p\u003e\n\u003cp\u003eThe following year she proved she had completed the transformation of her art and mastered Pyle’s approach. She did this in a pictorial essay which appeared in \u003cem\u003eSt. Nicholas’s \u003c\/em\u003eDecember 1903 issue. The magazine’s pace-setting editor, Mary Mapes Dodge, published half a dozen of SS’s drawings in a piece called “Happy Days.” In these pictures, SS softened her compositions and highlighted her characters. \u003c\/p\u003e\n\u003cp\u003e1904 was, as we now say, a breakout year for Sarah Stilwell. Her connection with Mary Mapes Dodge strengthened as she completed a second commission, this one to illustrate a new issue in Dodge’s Rhymes and Jingle series.\u003c\/p\u003e\n\u003cp\u003e There and thereafter, SS’s images reflect the styles of her female artist friends at the Plastic Club in Philadelphia, most notably Jessie Willcox Smith. \"Design” becomes a common descriptor in discussions of her work. She is frequently complimented for her interpretation of the “Art Nouveau” trend that was influential in the early decades of the 20\u003csup\u003eth\u003c\/sup\u003e century. These characteristics of her mature style reflect the cross-pollinations that were constantly occurring in the community of artists Howard Pyle gathered around him in the last years of the 19\u003csup\u003eth\u003c\/sup\u003e century and first years of the 20\u003csup\u003eth\u003c\/sup\u003e century.\u003c\/p\u003e\n\u003cp\u003eSS's 1915 cover illustration is an excellent example of her mature style in which she emphasized children exploring the wonders of the world around them.\u003c\/p\u003e","brand":"AntiqueIllustrationArt.com","offers":[{"title":"Default Title","offer_id":13611227644000,"sku":"","price":290.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0261\/8105\/products\/SSW_Post_1915-2_147683d2-fdc8-4c3a-a445-51b9c86ee0c5.jpg?v=1542234654"},{"product_id":"rare-beautifully-framed-colliers-magazine-cover-by-sarah-stilwell","title":"Sarah Stilwell cover illustration for \"Collier's Weekly\" (1907): rare, beautifully framed antique","description":"\u003cmeta charset=\"utf-8\"\u003e\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003cstrong\u003eIMAGE TITLE: Little Red Riding Hood\u003c\/strong\u003e\u003cbr\u003e    By Sara Stilwell \u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cspan\u003e\u003cem\u003e    Collier's - The National Weekly\u003c\/em\u003e\u003cbr\u003e    June 15, 1907 Issue\u003cbr\u003e    Vol XXXIX No 12\u003c\/span\u003e\u003cbr\u003e \u003cbr\u003e\u003cstrong\u003eIMAGE INFORMATION\u003c\/strong\u003e\u003cbr\u003e\u003cspan\u003e    Image Size: H 15.00” x W 11.00”\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e    Matted \u0026amp; Framed:  H 22.00” x W 18.00”\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e    Framed Price: $290.00  \u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e \u003c\/span\u003e   Packaging and shipping approximately $25.00\u003c\/div\u003e\n\u003cdiv\u003e   \u003c\/div\u003e\n\u003cp style=\"margin: 0in 0in 12.0pt 0in;\"\u003e\u003cspan style=\"font-size: 11.5pt; font-family: 'Helvetica Neue'; color: black;\"\u003eIn 1902, SS received a commission from \u003cem\u003e\u003cspan style=\"font-family: 'Helvetica Neue';\"\u003eCentury Magazine\u003c\/span\u003e\u003c\/em\u003e to illustrate Josephine Daskin's poem, \"Christmas Hymn of Children.\" The request was for an image conveying the mood of the poem and a graphic to embellish the text. Readers of \u003cem\u003e\u003cspan style=\"font-family: 'Helvetica Neue';\"\u003eCollier’s\u003c\/span\u003e\u003c\/em\u003e December issue did not know they were viewing an artistic transformation. In the halftone B\u0026amp;W lithograph that appears in this magazine, the artist has dropped the wooden form that defined her work in 1898. In its place, she is exploring the inner life of her subjects. This was, of course, what Pyle had encouraged her to do.\u003cp\u003e\u003c\/p\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"margin: 0in 0in 12.0pt 0in;\"\u003e\u003cspan style=\"font-size: 11.5pt; font-family: 'Helvetica Neue'; color: black;\"\u003eThe following year she proved she had completed the transformation of her art and mastered Pyle’s approach. She did this in a pictorial essay which appeared in \u003cem\u003e\u003cspan style=\"font-family: 'Helvetica Neue';\"\u003eSt. Nicholas's\u003c\/span\u003e\u003c\/em\u003e December 1903 issue. The magazine’s pace-setting editor, Mary Mapes Dodge, published half a dozen of SS’s drawings in a piece called “Happy Days.” In these pictures, SS softened her compositions and highlighted her characters.\u003cp\u003e\u003c\/p\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"margin: 0in 0in 12.0pt 0in;\"\u003e\u003cspan style=\"font-size: 11.5pt; font-family: 'Helvetica Neue'; color: black;\"\u003e1904 was, as we now say, a breakout year for Sarah Stilwell. Her connection with Mary Mapes Dodge strengthened during a second commission, this one to illustrate a new issue in Dodge’s \u003cem\u003e\u003cspan style=\"font-family: 'Helvetica Neue';\"\u003eRhymes and Jingle\u003c\/span\u003e\u003c\/em\u003e series. SS's 1907 cover illustration can be seen as a step in a transition that carried from the representationalism she learned under Howard Pyle, through the colorful world of children she encountered in the Plastic Club of Philadelphia, into her own mature artistic style, which focused on the innocence of children and happiness.\u003cp\u003e\u003c\/p\u003e\u003c\/span\u003e\u003c\/p\u003e","brand":"AntiqueIllustrationArt.com","offers":[{"title":"Default Title","offer_id":13611238162528,"sku":"","price":290.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0261\/8105\/products\/SSW_Collier_s_1907.jpg?v=1542165734"},{"product_id":"rare-beautifully-framed-frontispiece-book-illustration-by-coles-philips","title":"Coles Philips frontispiece for \"Peacock Feathers\" (1924): rare, beautifully framed antique","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003e\u003cstrong\u003e\"She was leaning against one of the trees\"\u003c\/strong\u003e\u003cbr\u003e\u003cspan\u003e     Frontispiece: Peacock Feathers\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e​​     by Temple Bailey.\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e     Illustration by Phillips, Coles\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e     Philadelphia. The Penn Publishing Company. 1924    \u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eIMAGE INFORMATION\u003c\/strong\u003e\u003cbr\u003e\u003cspan\u003e    Image Size: H 7.00” x W 5.25”\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e    Matted \u0026amp; Framed:  H 15.00” x W 13.00”\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e    Framed Price: $175.00  \u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e    Whiteglove handling and shipping: $25.00\u003c\/span\u003e \u003c\/p\u003e\n\u003cp\u003eCP met John Ames Mitchell in 1907. Mitchell had co-founded \u003cem\u003eLife\u003c\/em\u003e magazine with Andrew Miller in the early-1880s. He was the magazine’s publisher, it seems, because he owned the majority of its stock. Two decades before, Mitchell had purchased a sketch by an unknown artist named Charles Dana Gibson. By 1907, Gibson had become \u003cem\u003eLife’s\u003c\/em\u003e star illustrator. Perhaps Mitchell saw similar star potential in CP’s work. In any case, he offered the young artist a place on \u003cem\u003eLife’s\u003c\/em\u003e art staff. CP accepted and contributed artwork to the magazine through the rest of his life.\u003c\/p\u003e\n\u003cp\u003eWhile working alongside of the man who created the “Gibson Girl,” CP developed his own “girl.\" Philip’s imaginative “Fadeaway Girl” appeared magically within a page’s colorful background. He began experimenting with this design technique in 1908 and continued to use it until his untimely death in 1927.\u003c\/p\u003e\n\u003cp\u003eCP also created covers for other magazines, including \u003cem\u003eCollier’s\u003c\/em\u003e, \u003cem\u003eLiberty\u003c\/em\u003e, \u003cem\u003eVogue\u003c\/em\u003e, and \u003cem\u003eWoman’s Home Companion\u003c\/em\u003e. For two years beginning in 1912, he was the sole cover artist for\u003cem\u003e Good Housekeeping. H\u003c\/em\u003ee produced several of his most popular Fadeaway Girls during this period.\u003c\/p\u003e\n\u003cp\u003eIn addition to being a talented designer, CP was a gifted graphic artist who was able to portray characters who were both stylish and affluent. It is not surprising therefore that he created advertisements for manufacturers of luxury items. Among them were Apollo Chocolates (1923), Bulova Watches (1926), flatware manufacturer Oneida Community Plate, and Palmolive Soap.\u003c\/p\u003e\n\u003cp\u003eSince he was busy creating covers and advertisements, CP did not produce many book illustrations. His frontispiece for \u003cem\u003ePeacock Feather\u003c\/em\u003e is therefore remarkable. Perhaps he did it as a favor to the author.\u003c\/p\u003e\n\u003cspan\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/span\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e","brand":"AntiqueIllustrationArt.com","offers":[{"title":"Default Title","offer_id":13611283808352,"sku":"","price":175.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0261\/8105\/products\/3-30_Philips_1924_Frontispiece_Peacock_Feathers.jpeg?v=1541735156"},{"product_id":"rare-beautifully-framed-colliers-weekly-cover-by-jessie-willcox-smith","title":"Jessie Willcox Smith cover illustration for \"Collier's Weekly\" (1905): rare, beautifully framed antique","description":"\u003cmeta charset=\"utf-8\"\u003e\u003cstrong\u003eCover Title: \"Hayloft\"\u003c\/strong\u003e\n\u003cdiv\u003e\n\u003cspan\u003e\u003cspan\u003e    Jessie Willcox Smith\u003cbr\u003e    March 25, 1905 issue\u003cbr\u003e    Vol. xxxiv No. 26\u003cbr\u003e   \u003cbr\u003e\u003cstrong\u003eIMAGE INFORMATION\u003c\/strong\u003e\u003cbr\u003e    Image Size: H 15.00” x W 11.00”\u003cbr\u003e    Matted \u0026amp; Framed:  H 22.00” x W 18.00”\u003cbr\u003e    Framed Price: $290.00  \u003cbr\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cmeta charset=\"utf-8\"\u003e\n\u003cspan\u003e    Whiteglove packaging and shipping approximately $35.00\u003c\/span\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eAfter completing her studies at the Pennsylvania Academy of the Fine Arts in1888, Smith joined the advertising staff of Philadelphia-based \u003cem\u003eLadies Home Journal\u003c\/em\u003e. She was making her way as an artist, but it seems she was not satisfied with her career. Therefore, in 1894, when Howard Pyle opened his illustration class at the Drexel Institute, JWS enrolled as a student. She would later credit Pyle with sweeping away \"all the cobwebs and confusions that so beset the path of the art-student.\" Virtually all JWS’s early works were pen and inks shaded with washes. Most were probably reproduced photographically with steadily improving the halftone process. In 1905, color separation technology was good enough for JWS to add color to the illustrations she was creating for Charles Scribner’s Sons new edition of Robert Louis Stevenson’s \u003cem\u003eA Child’s Garden of Verses. \u003c\/em\u003eThis book marks the beginning of JWS’s fame as a child illustrator. It also marks the beginning of \"the age of color\" for illustrated books. In view of these remarkable achievements, it may not be surprising that JWS chose one of her illustrations for \u003cem\u003eA Child’s Garden of Verses \u003c\/em\u003eto adorn the cover of Collier's 25 March 1905 issue.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"AntiqueIllustrationArt.com","offers":[{"title":"Default Title","offer_id":13625808945248,"sku":"","price":290.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0261\/8105\/products\/Collier_s_Hayloft_JWS_1905.jpg?v=1541993416"},{"product_id":"beautifully-framed-antique-cream-of-wheat-advertisement-featuring-americas-favorite-chef","title":"Edward Brewer \"Cream of Wheat Advertisement\" with Rastus the Chef (1918): rare, beautifully framed antique","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv\u003e\n\u003cspan\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003cspan\u003eImage Caption: \"The Food you never tire of\"\u003cbr\u003e    By Edward Brewer\u003c\/span\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cspan\u003e\u003cspan\u003e\u003cspan\u003e    For The Cream of Wheat Company. 1918.\u003cbr\u003e\u003cstrong\u003e\u003cbr\u003eIMAGE INFORMATION\u003c\/strong\u003e\u003cbr\u003e    Image Size: H 11.75” x W 8.75”\u003cbr\u003e    Matted \u0026amp; Framed:  H 18.00” x W 15.25”\u003cbr\u003e    Framed Price: $245.00  \u003cbr\u003e    \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003eWhiteglove packaging and shipping approximately $30.00\u003cspan\u003e\u003cspan\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\n\u003cp\u003eEdward Brewer (1883-1971) was a notable pioneer in product branding, which became important as corporations nationalized during the last decades of the 19\u003csup\u003eth\u003c\/sup\u003e century and the first decades of the 20\u003csup\u003eth\u003c\/sup\u003e century. EB is remembered today for making Cream of Wheat “the food you never tire of.” He did this by creating a brand icon everyone knew, liked, and trusted. This was of course “Rastus,” the engaging black Chef who tended nettlesome children as he peddled his cereal. In real life, EB’s cheerful, likeble chef was Frank L. White. As the story goes, White was working as a chef in Chicago in 1900 when the owner of the cereal company encountered him. He began his trek into immortality when he granted the cereal maker permission to take his photograph, for which was paid $5.00. EB took over the Cream of Wheat account in 1911. Over the next fifteen years, he stripped  away the details of everyday living and focused consumers' attention on the virtuous qualities of the chef, which, in turn, made the product he was promoting desirable. EB's 1918 advertisement highlights the artistic devices he used to make Cream of Wheat successful as a national brand.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"AntiqueIllustrationArt.com","offers":[{"title":"Default Title","offer_id":13634183757920,"sku":"","price":245.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0261\/8105\/products\/creamwheat_nevertire.jpg?v=1542041431"},{"product_id":"rare-beautifully-framed-1907-cluett-dress-shirt-ad-by-j-c-joe-leyendecker","title":"J. C. Leyendecker Cluett Dress Shirt advertisement (1907): rare, beautifully framed antique","description":"\u003cmeta charset=\"utf-8\"\u003e\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv\u003e\n\u003cspan\u003e\u003cstrong\u003eAdvertisement: Cluett Dress Shirt\u003c\/strong\u003e\u003cbr\u003e    By J. C. Leyendecker\u003cbr\u003e    For Cluett, Peabody \u0026amp; Co. 1907.\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eIMAGE INFORMATION\u003c\/strong\u003e\u003cbr\u003e    Image Size: H 13.00” x W 9.25”\u003cbr\u003e    Matted \u0026amp; Framed:  H 19.25” x W 15.00”\u003cbr\u003e    Framed Price: $245.00  \u003cbr\u003e\u003c\/span\u003e\u003cspan\u003e    Whiteglove packag\u003c\/span\u003e\u003cspan\u003eing and shipping approximately $\u003c\/span\u003e30.00\u003cstrong\u003e\u003cbr\u003e    \u003c\/strong\u003e\n\u003c\/div\u003e\n\u003cp\u003e“Joe” Leyendecker received his first magazine cover commission shortly after he opened his New York studio in 1899. The piece was requested by the Curtis Publishing Company of Philadelphia, which owned \u003cem\u003eThe Saturday Evening Post\u003c\/em\u003e. The illustration JL produced appeared on the cover of its May 1899 issue. Over the next forty-four years, JL produced nearly 400 more magazine covers, including 321 for \u003cem\u003eThe Post\u003c\/em\u003e.\u003c\/p\u003e\n\u003cp\u003eIn 1901, JL was approached by a handsome Canadian teenager named Charles Beach. Beach was, it seems, seeking work as a model. Needing one, Joe gave him a job. Four years later, when Cluett, Peabody \u0026amp; Company of Troy, New York selected JL to create illustrations for an ad campaign to promote its shirts and collars. JL began transforming handsome Charles Beach, dressed in stylish Cluett shirts and Arrow collars, into the paradigm of the well-dressed American male. The ads, which featured Beach looking sharp and commanding in places where the best people gathered, created a fashion sensation. The god-like “Arrow Collar Man” reportedly received baskets of mail including several proposals of marriage. No marriage was forthcoming, however, because Joe and Charles were by then an item.\u003c\/p\u003e\n\u003cp\u003eJoe’s crisp, polished style amplified the attractive qualities of the upscale male figures he portrayed. In the eyes of his viewers, at least through the Roaring Twenties when everyone aspired to become—or look like—a millionaire, Joe’s figures were just the right stuff. The power of this vision disappeared as the American economy sank into the Depression of the 1930s. With it went the Cluett - Peabody ad campaign and its fat commissions.\u003c\/p\u003e","brand":"AntiqueIllustrationArt.com","offers":[{"title":"Default Title","offer_id":13637233148000,"sku":"","price":245.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0261\/8105\/products\/Slide1.jpg?v=1542054511"},{"product_id":"beautifully-framed-reproduction-of-1918-arrow-collar-advertisement-by-j-c-leyendecker","title":"J. C. Leyendecker Arrow Collar advertisement (1918): beautifully framed reproduction","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv\u003e\n\u003cspan\u003e\u003cstrong\u003eAdvertisement: \u003c\/strong\u003e\u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eArrow Collars and Shirts for Dress    \u003c\/span\u003e\u003c\/strong\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\u003cspan\u003e   By J. C. Leyendecker \u003c\/span\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cspan\u003e   For Cluett, Peabody \u0026amp; Co. 1918\u003c\/span\u003e\u003cbr\u003e \u003cmeta charset=\"utf-8\"\u003e\n\u003cstrong\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/strong\u003e  Giclee reproduction on canvas\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cbr\u003e IMAGE INFORMATION\u003c\/strong\u003e\u003cbr\u003e     Image Size: H 16.25” x W 10.50”\u003cbr\u003e     Matted \u0026amp; Framed:  H 22.25” x W 16.50”\u003cbr\u003e     Framed Price: $210.00  \u003cbr\u003e     Whiteglove packaging and shipping approximately $25.00\u003cbr\u003e \u003cbr\u003e \u003cstrong\u003e\u003c\/strong\u003e\n\u003c\/div\u003e\n\u003cp\u003e“Joe” Leyendecker received his first magazine cover commission shortly after he opened his studio in New York in 1899. The piece was requested by the Curtis Publishing Company of Philadelphia, which owned \u003cem\u003eThe Saturday Evening Post\u003c\/em\u003e. JL's illustration work appeared on the cover of \u003cem\u003eThe Post's\u003c\/em\u003e May 1899 issue. Over the next forty-four years, JL produced nearly 400 more magazine covers, including 321 for \u003cem\u003eThe Post\u003c\/em\u003e.\u003c\/p\u003e\n\u003cp\u003eIn 1901, JL was approached by a handsome Canadian teenager named Charles Beach. Beach was, it seems, seeking work as a model. Needing one, Joe gave him a job. Four years later, when Cluett, Peabody \u0026amp; Company of Troy, New York selected JL to create illustrations for an ad campaign to promote its shirts and collars. JL began transforming handsome Charles Beach, dressed in stylish Cluett shirts and Arrow collars, into the paradigm of the well-dressed American male. The ads, which featured Beach looking sharp and commanding in places where the best people gathered, created a fashion sensation. The god-like “Arrow Collar Man” reportedly received baskets of mail including several proposals of marriage. No marriage was forthcoming, however, because Joe and Charles were by then an item.\u003c\/p\u003e\n\u003cp\u003eWhen this ad appeared in 1918, the Great War had been raging for four ghastly years in Europe and “our boys” were “over there” bringing it to an end. None of this affected JL’s artistic style or subject matter. Beach was as handsome as ever, and as the troops mustered out after the cease-fire was declared on 11 November, they turned again to the business of America, which was becoming rich and pursuing happiness. JL and CD joined the party, which continued until 29 October 1929, Black Tuesday.\u003c\/p\u003e","brand":"AntiqueIllustrationArt.com","offers":[{"title":"Default Title","offer_id":16887709991008,"sku":"","price":210.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0261\/8105\/products\/Arrow_Collar_Man_1918.jpg?v=1542057919"},{"product_id":"beautifully-framed-reproduction-of-j-c-leyendeckers-1925-arrow-collar-advertisement","title":"J. C. Leyendecker Arrow Collar advertisement (1925): beautifully framed reproduction","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003e\u003cb\u003eArrow Collar Man and Companion \u003c\/b\u003e\u003cb\u003eDescending Staircase \u003cspan\u003e \u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e  \u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e   By  J. C. Leyendecker\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e   For Cluett, Peabody \u0026amp; Co. 1925\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e   Giclee reproduction on canvas\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eIMAGE INFORMATION\u003cbr\u003e \u003c\/strong\u003e    Image Size: H 16.25” x W 10.50”\u003cbr\u003e     Matted \u0026amp; Framed:  H 22.25” x W 16.50”\u003cbr\u003e     Framed Price: $210.00  \u003cbr\u003e     Packaging and shipping approximately $25.00\u003c\/p\u003e\n\u003cp\u003e“Joe” Leyendecker received his first magazine cover commission shortly after he opened his studio in New York in 1899. The piece was requested by the Curtis Publishing Company of Philadelphia, which owned \u003cem\u003eThe Saturday Evening Post\u003c\/em\u003e. JL's illustration work appeared on the cover of \u003cem\u003eThe Post's \u003c\/em\u003eMay 1899 issue. Over the next forty-four years, JL produced nearly 400 more magazine covers, including 321 for \u003cem\u003eThe Post\u003c\/em\u003e.\u003c\/p\u003e\n\u003cp\u003eIn 1901, JL was approached by a handsome Canadian teenager named Charles Beach. Beach was, it seems, seeking work as a model. Needing one, Joe gave him a job. Four years later, when Cluett, Peabody \u0026amp; Company of Troy, New York selected JL to create illustrations for an ad campaign to promote its shirts and collars. JL began transforming handsome Charles Beach, dressed in stylish Cluett shirts and Arrow collars, into the paradigm of the well-dressed American male. The ads, which featured Beach looking sharp and commanding in places where the best people gathered, created a fashion sensation. The god-like “Arrow Collar Man” reportedly received baskets of mail including several proposals of marriage. No marriage was forthcoming, however, because Joe and Charles were by then an item.\u003c\/p\u003e\n\u003cp\u003eWhen this ad appeared the post-WWI party remembered as the Roaring Twenties was halfway over. Beach was as handsome as ever, and Flappers were flapping themselves to exhaustion. JL's image insinuates the ennui that was setting in in however. While he sizes up the crowd and identifies his next pigeon she tries to locate someone who admires her. The clock was ticking for these two beautiful people and everyone like them.\u003c\/p\u003e","brand":"AntiqueIllustrationArt.com","offers":[{"title":"Default Title","offer_id":17539771269216,"sku":"","price":210.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0261\/8105\/products\/Arrow_Collar_Man_1925.jpg?v=1542060060"},{"product_id":"rare-beautifully-frames-1909-harpers-monthly-illustration-by-thornton-oakley","title":"Thornton Oakley story illustration for \"Harper's Monthly\" (1909): rare, beautifully framed antique","description":"\u003cmeta charset=\"utf-8\"\u003e\u003cstrong\u003e\u003cspan\u003eBuilding a Foot-Path Along the Temporary Cables\u003c\/span\u003e\u003c\/strong\u003e\n\u003cdiv\u003e\n\u003cspan\u003e    Illustration for “The Weaving of the Bridge” \u003c\/span\u003e\u003cspan\u003eby Edward Hungerford\u003c\/span\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cspan\u003e\u003c\/span\u003e\u003cspan\u003e\u003cspan\u003e    By Thornton \u003c\/span\u003e\u003c\/span\u003e\u003cmeta charset=\"utf-8\"\u003e\n\u003cspan\u003eOakley\u003c\/span\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cspan\u003e\u003cspan\u003e\u003cspan\u003e    Harper's Monthly Magazine. Vol. 119. July 1909\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eIMAGE INFORMATION\u003c\/strong\u003e\u003cbr\u003e    Image Size: H 8.25” x W 5.75”\u003cbr\u003e    Matted \u0026amp; Framed:  H 16.00” x W 13.50”\u003cbr\u003e    Framed Price: $225.00  \u003cbr\u003e   \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cmeta charset=\"utf-8\"\u003e\n\u003cspan\u003e\u003cspan\u003e Whiteglove packaging and shipping approximately $30.00\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp style=\"margin: 0in 0in 12.0pt 0in;\"\u003e\u003cspan style=\"font-size: 11.5pt; font-family: 'Helvetica Neue'; color: black;\"\u003eTO returned to Philadelphia after graduating from Pyle’s school (in Wilmington, Delaware) in 1905. He was soon busy writing and illustrating articles for \u003cem\u003e\u003cspan style=\"font-family: 'Helvetica Neue';\"\u003eHarper’s Monthly Magazine\u003c\/span\u003e\u003c\/em\u003e. His article “Toilers of the River,” which appeared in the magazine’s February 1906 issue, may have been his first published work. Clearly Harper’s liked Pyle and his students. Elizabeth Shippen Green’s illustrations for Warwick Deeping’s “Tiphanie le Fee” appeared in the same issue, and Pyle’s pirate story, “Fate of a Treasure-Town,” appeared in the magazine’s December issue. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp style=\"font-variant-ligatures: normal; font-variant-caps: normal; orphans: 2; text-align: start; widows: 2; -webkit-text-stroke-width: 0px; text-decoration-style: initial; text-decoration-color: initial; word-spacing: 0px; margin: 0in 0in 12.0pt 0in;\"\u003e\u003cspan style=\"font-size: 11.5pt; font-family: 'Helvetica Neue'; color: black;\"\u003eI do not know how many more pieces TO produced before he created this illustration for Hungerford’s “The Weaving of the Bridge.” In this striking image, TO employs the full scope of his architectural training. Indeed, of all Pyle’s students, none seemed to learn less about telling stories in pictures than the architect from UPenn. This scene, for example, is successful not because TO engages the viewer in the work the bridge weavers are doing. It succeeds because of its perspective and dramatic dimensions. Many of its viewers probably felt vertiginous as they imagined themselves with those men on the flimsy platform. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp style=\"font-variant-ligatures: normal; font-variant-caps: normal; orphans: 2; text-align: start; widows: 2; -webkit-text-stroke-width: 0px; text-decoration-style: initial; text-decoration-color: initial; word-spacing: 0px; margin: 0in 0in 12.0pt 0in;\"\u003e\u003cspan style=\"font-size: 11.5pt; font-family: 'Helvetica Neue'; color: black;\"\u003eTO seems to have incorporated aspects of this unsettling grandeur in all his illustrations. He creates big towering things that strain one's neck to study. See if you don’t feel the same strain when you inspect his illustrations of the ships being build at Hogg Island Shipyard during WWI. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003c\/div\u003e","brand":"AntiqueIllustrationArt.com","offers":[{"title":"Default Title","offer_id":17851463598176,"sku":"","price":225.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0261\/8105\/products\/Oakley_Bridge_Builders-Harper_s_Monthly-1909.jpeg?v=1542066601"},{"product_id":"rare-beautifully-framed-1905-book-illustration-for-shake-speares-sweetheart-by-clara-elsene-peck-1","title":"Clara Elsene Peck illustration for \"Shake-speare's Sweetheart\" (1905): beautifully framed antique","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003e\u003cstrong\u003e\"A health to - Shakespeare's freedom and - Shakespeare's Sweetheart!\"\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e     Book by Sara Hawks Sterling\u003cbr\u003e      Illustrations by Clara Elsene Peck\u003cbr\u003e      Philadelphia. George W. Jacobs \u0026amp; Co. 1905.\u003cbr\u003e    \u003cbr\u003e \u003cstrong\u003eIMAGE INFORMATION\u003c\/strong\u003e\u003cbr\u003e      Image Size: H 8.75” x W 6.25”\u003cbr\u003e      Matted \u0026amp; Framed:  H 16.75” x W 14.25”\u003cbr\u003e      Framed Price: $175.00\u003cbr\u003e      Whiteglove packaging and shipping approximately $25.00\u003cbr\u003e \u003cbr\u003e Given the magnitude of her talent, it is surprising CEP did not achieve greater success. The reason for this may be that, by starting her career with book projects that had small audiences of women readers, CEP branded herself as a producer of boutique books. The limitations imposed by this impression may have been compounded by life decisions that placed her on the perimeter of the illustration community. \u003c\/p\u003e\n\u003cp\u003eCEP began her career in 1904 when publisher George W. Jacobs commissioned her to illustrate a vanity book by Philadelphia socialite Minna Thomas Antrim. Peck confirmed her considerable talents as a graphic artist and book designer with three more early projects for Jacobs. The last two of these were works by Sara Hawks Sterling. CEP designed and illustrated \u003cem\u003eShake-speare's Sweetheart\u003c\/em\u003e in 1905. She did the same for \u003cem\u003eA Lady of King Arthur's Court\u003c\/em\u003e two years later.\u003c\/p\u003e\n\u003cp\u003eIn \u003cem\u003eImagining Shakespeare's Wife: The Afterlife of Anne Hathaway\u003c\/em\u003e [Cambridge University Press. 2018.], Katherine West Scheil suggests that Sterling wrote the first of these two books to explain Anne Hathaway’s life to “American women readers.” “At a time when women’s social and political roles were in flux,” Professor Sheil explains, it is not surprising to see Anne take a larger role for women readers and writers . . . A cluster of American women writers in the first two decades of the twentieth century crafted extensive portrayals of Anne designed primarily for women readers, produce with generous illustrations and elaborate packaging appropriate for keepsake books.” [122.]\u003c\/p\u003e\n\u003cp\u003eHaving established herself as an expert practitioner in this boutique genre, CEP remained there through the best years of her working life. Finding examples of her work is therefore comparative hard. What a pity!\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"AntiqueIllustrationArt.com","offers":[{"title":"Default Title","offer_id":17882469859424,"sku":"","price":175.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0261\/8105\/products\/Shake-speare_1909_CEP_To_Health-84.jpg?v=1542135741"},{"product_id":"rare-beautifully-framed-1903-book-illustration-from-king-arthur-and-his-knights-by-howard-pyle","title":"Howard Pyle illustration from \"King Arthur and his Knights\" (1903): beautifully framed antique","description":"\u003cmeta charset=\"utf-8\"\u003e\u003cstrong\u003e\"Sir Kay breaketh his sword at ye tournament\"    \u003cbr\u003e   \u003c\/strong\u003e\u003cspan\u003e     Illustration for \u003c\/span\u003e\u003cem\u003eThe Story of King Arthur and his Knights\u003c\/em\u003e\u003cbr\u003e\u003cspan\u003e           b\u003c\/span\u003e\u003cspan\u003ey Howard Pyle\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e        New York. Charles Scribner's Sons. 1903.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eI\u003c\/span\u003e\u003cstrong\u003eMAGE INFORMATION\u003cbr\u003e \u003c\/strong\u003e\u003cspan\u003e   Image Size: H 9.125” x W 6.625”\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e    Matted \u0026amp; Framed:  H 17.125” x W 10.625”\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e    Framed Price: $225.00  \u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e    Whiteglove packaging and shipping approximately $25.00\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\n\u003cp\u003eHP was a prolific illustrator of stories published in leading national magazines from 1878 until his death in 1911. He is not as well-known as a book illustrator, but during his career, he illustrated more than 150 books. More surprising, the bulk of his pictures were in books he wrote himself.\u003c\/p\u003e\n\u003cp\u003eHP launched this part his career with \u003cem\u003eThe Merry Adventures of Robin Hood\u003c\/em\u003e, which Scribner published in 1883. His greatest work was a four-volume set he produced between 1903 and 1910, which contained his illustrated interpretation of the Arthurian legend. No longer writing\/drawing for children, the mature author\/artist aimed to instruct young adults and adults in the lessons of life. That he appreciated the monumental nature of the project becomes clear in the comment he used to close book four. It reads in part:\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eAnd these books are four in number: first, there is the Book of King Arthur; then\u003c\/em\u003e\u003cem\u003e there is the Book of the Champions of the Round Table; then there is the Book of Sir Launcelot and his companions, and now there is this Book of the Grail and the Passing of Arthur, and this book is the last. For those books comprise a history of all this time ; for though there be many things left untold in them, yet those things are of small consequence.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eThe illustration of Sir Kay at “ye tournament” is from the first book in the set. Pyle made it a magnet for the eye by following the rules he set out for his students. “Project your mind into your subject,” he told them, “until you actually live in it.” “Scrutinize the model sharply to find the proportions–how the weight is supported, how each joint is functioning . . . Look for the color and tone and texture.” Make the action come alive, he told them, by contrasting light with dark on diagonal lines. Finally, he told his students fill their pages with details so everywhere in the scene the viewer would find something interesting to look at.\u003c\/p\u003e","brand":"AntiqueIllustrationArt.com","offers":[{"title":"Default Title","offer_id":17904486809696,"sku":"","price":225.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0261\/8105\/products\/King_Arthur_HP_Sir_Kay_Scribner_s_1903-9.jpg?v=1542162686"},{"product_id":"rare-beautifully-frame-1904-book-illustration-by-maxfield-parrish","title":"Maxfield Parrish illustration from \"Poems of Childhood\" (1904): beautifully framed antique","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan\u003eWith Trumpet and Drum\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cspan\u003e    Illustration for \u003cem\u003ePoems of Childhood\u003c\/em\u003e \u003c\/span\u003e\u003cspan\u003eby Eugene Field\u003c\/span\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cspan\u003e\u003c\/span\u003e\u003cspan\u003e    Illustrations by Maxfield Parrish\u003c\/span\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cspan\u003e\u003cspan\u003e\u003cspan\u003e    New York. Charles Scribner’s Sons. 1904.\u003cbr\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\n\u003cp\u003e\u003cstrong\u003eIMAGE INFORMATION\u003c\/strong\u003e\u003cbr\u003e    Image Size: H 9.375” x W 6.50”\u003cbr\u003e    Matted \u0026amp; Framed:  H 15.375” x W 12.50”\u003cbr\u003e    Framed Price: $185.00  \u003cbr\u003e    Packaging and shipping approximately $22.00\u003c\/p\u003e\n\u003cp\u003e. \u003c\/p\u003e\n\u003cp\u003eThe first book MP illustrated was Frank Baum’s \u003cem\u003eMother Goose in Prose\u003c\/em\u003e, which Way and Williams of Chicago published in 1897. Since its appearance coincided with Howard Pyle’s announcement that he had nothing more to teach the young artist (who attended his illustration classes at Drexel Institute), perhaps HP made came to this conclusion after persuading \u003cem\u003eMother Goose \u003c\/em\u003eand deciding that MP was a designer rather than an illustrator. Whether or not this was the state of the affair, the pictures MP created for Baum’s \u003cem\u003eMother Goose\u003c\/em\u003e and for the books he illustrated after that were smashingly successful.\u003c\/p\u003e\n\u003cp\u003e            During the next three years, MP executed three more book projects. In 1900, he illustrated an edition of Washington Irving’s \u003cem\u003eKnickerbocker’s History of New York\u003c\/em\u003e published by R. H. Russell. He followed this with two children’s storybooks by Kenneth Grahame, \u003cem\u003eThe Golden Age\u003c\/em\u003e and \u003cem\u003eDream Days\u003c\/em\u003e. In these turn-of-the-century works, MP stepped back into the fantasy world he created in the Old King Cole mural he had done for UPenn’s Mask and Wig Club in 1894.\u003c\/p\u003e\n\u003cp\u003eParrish biographer Coy Ludwig indicates that MP’s next book, \u003cem\u003ePoems of Childhood\u003c\/em\u003e, which Charles Scribner’s Sons published in 1904, was the best known of all the books he illustrated. According to Ludwig, “the idea to have Parrish illustrate Field’s poems originated with Edward Bok at the \u003cem\u003eLadies’ Home Journal\u003c\/em\u003e. When Bok commissioned him to paint his interpretations of five of the poems for the magazine, Charles Scribner’s Sons arranged to use the five illustrations in a single volume of Field’s poetry.” [\u003cem\u003eMaxfield Parrish\u003c\/em\u003e. 31.] “With Trumpet and Drum” appeared in black and white on the cover the July 1903 issue of the \u003cem\u003eLadies’ Home Journal\u003c\/em\u003e. It was the first illustration in the Scribner’s 1904 edition, and Scribner’s produced it in color.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"AntiqueIllustrationArt.com","offers":[{"title":"Default Title","offer_id":17906726305888,"sku":"","price":195.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0261\/8105\/products\/MP_Trumpet_Drum_1904.jpg?v=1542760541"},{"product_id":"rare-beautifully-framed-1921-colorize-book-illustration-by-howard-pyle","title":"Pirate illustration from \"Howard Pyle's Book of Pirates\" (1921): rare, beautifully framed antique","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eBuried Treasure\u003c\/strong\u003e\u003cbr\u003e    Illustration for \u003cem\u003eHoward Pyle's Book of Pirates\u003c\/em\u003e\u003cbr\u003e    Compiled by Merle Johnson from works by Howard Pyle\u003cbr\u003e    New York. Harper \u0026amp; Brothers. 1921.   \u003cstrong\u003e   \u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cdiv\u003e\u003cspan\u003e    Originally published in “The True Captain Kidd” \u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e         by John Denison Champlin, Jr.\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e    \u003cem\u003eHarper’s Monthly\u003c\/em\u003e. December 1902 issue.    \u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp\u003e\u003cspan\u003e\u003cspan\u003e\u003cstrong\u003e\u003cbr\u003eIMAGE INFORMATION\u003c\/strong\u003e\u003cbr\u003e    Image Size: H 10.00” x W 8.00”\u003cbr\u003e    Matted \u0026amp; Framed:  H 17.00” x W 15.00”\u003cbr\u003e    Framed Price: $225.00  \u003cbr\u003e    \u003c\/span\u003e\u003c\/span\u003eWhiteglove packaging and shipping approximately $30.00\u003c\/p\u003e\n\u003cspan\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/span\u003e\n\u003c\/div\u003e\n\u003cp\u003e“Buried Treasure” appeared in two primary publications. The first was as an illustration for “The True Captain Kidd” by John Denison Champlin, Jr., which appeared in the December 1902 issue of \u003cem\u003eHarper’s Monthly\u003c\/em\u003e. Pyle expert Ian Schoenherr notes that Pyle produced the original illustration “in color in crayon and watercolor (or something like that).” While the original work was colorized, Harper’s reproduced it as a binary (B\u0026amp;W) photolithograph. \u003c\/p\u003e\n\u003cp\u003eThe second primary publication was Howard Pyle’s Book of Pirates, which was assembled by Merle Johnson ten years after the artist’s death. Johnson’s volume contained “fiction, fact \u0026amp; fancy concerning the Bucaneers \u0026amp; Marooners of the Spanish Main from the writing \u0026amp; pictures of Howard Pyle.” Johnson acknowledged these other sources: “Blueskin, the Pirate” (published by \u003cem\u003eThe Northwestern Miller\u003c\/em\u003e in December 1890), “Captain Scarfield,” (published by \u003cem\u003eThe Northwestern Miller\u003c\/em\u003e in December 1900), and \u003cem\u003eJack Ballister's Fortunes \u003c\/em\u003e(published by St Nicholas between Apr 1894 and Sep 1895), “Dead Men tell No Tales” (published by \u003cem\u003eCollier’s Weekly\u003c\/em\u003e in its 17 Dec 1899 issue), and “the Burning Ship” (published by \u003cem\u003eCollier’s Weekly\u003c\/em\u003e in its 10 Dec 1904 issue). He does not mention “The True Captain Kidd” by John Denison Champlin.\u003c\/p\u003e\n\u003cp\u003eSince Pyle added color washes to “Buried Treasure,” it is possible that Johnson reproduced the original work. But since the illustrations in the source publications Johnson credits were all “binary,” it seems the other pictures in Johnson’s compilation were colorized by his printer while preparing Johnson's manuscript in 1921.\u003c\/p\u003e","brand":"AntiqueIllustrationArt.com","offers":[{"title":"Default Title","offer_id":17964333072480,"sku":"","price":225.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0261\/8105\/products\/Buried_Treasure_Pirates_1921.jpg?v=1542221560"},{"product_id":"rare-beautifully-framed-1910-magazine-illustration-by-frederic-remington","title":"Frederic Remington magazine illustration for \"Collier's Weekly\" (1910): rare, beautifully framed antique","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003cstrong\u003e\"The Call for Help\"  \u003c\/strong\u003e           \u003cbr\u003e     Magazine Illustration by Frederic Remington\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e     \u003cem\u003eCollier's - The National Weekly\u003c\/em\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cspan\u003e\u003cspan\u003e\u003cspan\u003e     December 17, 1910 Issue\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eIMAGE INFORMATION\u003c\/strong\u003e\u003cbr\u003e    Image Size: H 15.00” x W 11.00”\u003cbr\u003e    Matted \u0026amp; Framed:  H 22.00” x W 18.00”\u003cbr\u003e    Framed Price: $300.00  \u003cbr\u003e   \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cmeta charset=\"utf-8\"\u003e\n\u003cspan\u003e\u003cspan\u003e Whiteglove packaging and shipping approximately $35.00\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\n\u003cp\u003eFirst, Frederic Remington succumbed to a burst appendix on 26 December 1909 and had been dead for nearly a year when \u003cem\u003eCollier’s\u003c\/em\u003e published this illustration. Second, Americans’ infatuation with “the West” had peaked some years before FR’s death, and as this became apparent to the artist, he shifted his focus from painting to sculpture.\u003c\/p\u003e\n\u003cp\u003eThe date of the work is not legible in \u003cem\u003eCollier’s\u003c\/em\u003e reproduction, but FR probably produced it after 1902.\u003c\/p\u003e\n\u003cp\u003eThe historians at the Frederic Remington Art Museum add this information: “Frederic Remington's fame burst off the magazine pages by the time he signed a contract with Collier's Magazine in 1902. He agreed to provide them with a color painting per month at the commanding price of $1,000.00 each. In each case, Collier's would print the painting as a color halftone in the magazine, usually as a two-page centerfold. Unlike the previous illustration work he did for Harper's Weekly, Harper's Monthly, The Century, Scribner's, etc., Remington was free to paint whatever he wanted. His images were no longer tied to text. Remington created most of the paintings Collier's in colored oil paint on canvases that were approximately 27 x 40\".” \u003c\/p\u003e\n\u003cp\u003eFR and his wife had relocated from New York City to New Rochelle in 1890. Shortly before he died, FR sold this residence and his studio, which was on a hill behind it, and moved east to the open spaces of Ridgefield, Connecticut. Before he departed from New Rochelle, he burned dozens of his western paintings.\u003c\/p\u003e\n\u003cp\u003eThis painting may have been a gift from the artist to his friends at \u003cem\u003eCollier's.\u003c\/em\u003e The magazine did, after all, have and agreement with the artist. Perhaps \u003cem\u003eCollier's\u003c\/em\u003e revived this agreement to produce a tribute to the man, his artistry, and The West on the first anniversary of his death. By December of 1910 they were all fading memories.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"AntiqueIllustrationArt.com","offers":[{"title":"Default Title","offer_id":17964544393312,"sku":"","price":300.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0261\/8105\/products\/Collier_s_FR-Call_for_Help_1910.jpg?v=1542222868"},{"product_id":"rare-beautifully-framed-1901-book-illustration-by-frederic-remington","title":"Frederic Remington illustration from \"The Book of the American Indian\" (1923): rare, beautifully framed antique","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003e\u003cb\u003e\"An Indian Brave\"\u003c\/b\u003e    \u003c\/span\u003e\u003cbr\u003e\u003c\/strong\u003e    As reproduced in \u003cem\u003eThe Book of the American Indian\u003c\/em\u003e\u003cbr\u003e         by Hamlin Garland\u003cbr\u003e    New York. Harper \u0026amp; Brothers. 1923. \u003cbr\u003e     Original Illustration for \u003cem\u003eA Bunch of Buckskin\u003c\/em\u003e\u003cbr\u003e         by Frederic Remington.\u003cbr\u003e      New York. R.H. Russell, Publisher. 1901.\u003cstrong\u003e\u003cspan\u003e\u003cbr\u003e\u003cbr\u003eIMAGE INFORMATION\u003cbr\u003e   \u003c\/span\u003e\u003c\/strong\u003e Image Size: H 12.00” x W 9.00”\u003cbr\u003e     Matted \u0026amp; Framed:  H 19.50” x W 16.50”\u003cbr\u003e     Framed Price: $300.00  \u003cbr\u003e     Whiteglove packaging and shipping approximately $32.00\u003c\/p\u003e\n\u003cp\u003eHamlin Garland’s \u003cem\u003eBook of the American Indian\u003c\/em\u003e is like \u003cem\u003eHoward Pyle’s Book of Pirates\u003c\/em\u003e in the sense that the text and illustrations in both books were created years before the books were published by artists who had been dead for more than a decade.\u003c\/p\u003e\n\u003cp\u003eThe three colorized illustrations in Garland’s narrative (two dozen other illustrations are in B\u0026amp;W) appeared originally in a portfolio of eight paste drawings Remington called \u003cem\u003eA Bunch of Buckskin. \u003c\/em\u003eRemington’s collection was published by R.H. Russell in 1901. The year before, Russell had published an edition of Washington Irving’s \u003cem\u003eHistory of New York from the Beginning of the World to the End of the Dutch Dynasty \u003c\/em\u003ewith illustrations by Maxfield Parrish. The year after publishing Remington’s portfolio, Russell publish Charles Dana Gibson’s \u003cem\u003eThe Social Ladder\u003c\/em\u003e, which featured 84 witty social commentary cartoons.\u003c\/p\u003e\n\u003cp\u003eMerle Johnson had combed through old magazines to find pieces Howard Pyle had written about pirate. Garland deviated from this pattern by combing through files of his own work to find stories about The Old West. Written 1890 1905, Garland’s stories recall the final conquest of America’s Plains Indians Native American Indian in transition. “Based on ten years of visits to reservations in the American West,” one reviewer explains, Garland’s “stories are of interest for readers today in part because they illustrate a sincere and well-intentioned white reformer coming to understand a culture radically at odds with his own and discovering in the process that his own culture is less ‘advanced’ than he had supposed.” In this sense, Remington’s austere illustrations are a good match for Garland’s text.\u003c\/p\u003e","brand":"AntiqueIllustrationArt.com","offers":[{"title":"Default Title","offer_id":17965940539488,"sku":"","price":290.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0261\/8105\/products\/Remington_Brave_1901_Book_of_Indians_1923.jpg?v=1542229987"},{"product_id":"rare-beautifully-framed-1923-colorized-book-illustration-by-frederic-remington","title":"Frederic Remington illustration from \"The Book of the American Indian\" (1923): rare, beautifully framed antique","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003e\u003cstrong\u003e\"An Indian Chief\"    \u003cbr\u003e\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003e     As reproduced in \u003cem\u003eThe Book of the American Indian\u003c\/em\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e         by Hamlin Garland\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e     New York. Harper \u0026amp; Brothers. 1923. \u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e     Original Illustration for \u003cem\u003eA Bunch of Buckskin\u003c\/em\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e         by Frederic Remington.\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e     New York. R.H. Russell, Publisher. 1901\u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eIMAGE INFORMATION\u003c\/strong\u003e\u003cbr\u003e     Image Size: H 12.00” x W 9.00”\u003cbr\u003e     Matted \u0026amp; Framed:  H 19.50” x W 16.50”\u003cbr\u003e     Framed Price: $290.00  \u003cbr\u003e     Whiteglove packaging and shipping approximately $32.00\u003c\/p\u003e\n\u003cp\u003eHamlin Garland’s \u003cem\u003eBook of the American Indian\u003c\/em\u003e is like \u003cem\u003eHoward Pyle’s Book of Pirates\u003c\/em\u003e in the sense that the text and illustrations in both books were created years before the books were published by artists who had been dead for more than a decade.\u003c\/p\u003e\n\u003cp\u003eThe three colorized illustrations in Garland’s narrative (two dozen other illustrations are in B\u0026amp;W) appeared originally in a portfolio of eight pastel drawings FR called \u003cem\u003eA Bunch of Buckskin. \u003c\/em\u003eFR’s collection was published by R.H. Russell in 1901. The year before, Russell had published an edition of Washington Irving’s \u003cem\u003eHistory of New York \u003c\/em\u003ewith illustrations by Maxfield Parrish. The year after publishing Remington’s portfolio, Russell publish Charles Dana Gibson’s \u003cem\u003eThe Social Ladder\u003c\/em\u003e, which featured 84 witty social commentary cartoons.\u003c\/p\u003e\n\u003cp\u003eMerle Johnson had combed through old magazines to find thing Howard Pyle wrote about pirates. Garland combing through files of his own work to find stories about The Old West. Written between 1890 and 1905, Garland’s stories describe the final conquest of America’s Plains Indians. “Based on fifteen years of visits to reservations in the American West,” one reviewer explains, Garland’s “stories are of interest for readers today because they portray well-intentioned white reformer coming to understand a culture radically at odds with his own and discovering in the process that his own culture is less ‘advanced’ than he supposed.” In this sense, Remington’s austere illustrations are a good match for Garland’s text. \u003c\/p\u003e","brand":"AntiqueIllustrationArt.com","offers":[{"title":"Default Title","offer_id":17966173323360,"sku":"","price":290.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0261\/8105\/products\/Remington_Chief_1901_Book_of_Indians_1923.jpg?v=1542231011"},{"product_id":"rare-beautifully-frame-1923-color-book-illustration-by-frederic-remington","title":"Frederic Remington illustration from \"The Book of the American Indian\" (1923): rare, beautifully framed antique","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003cb\u003e\"An Indian Scout\"\u003c\/b\u003e    \u003cbr\u003e    As reproduced in \u003cem\u003eThe Book of the American Indian\u003c\/em\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e         by Hamlin Garland\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cspan\u003e    New York. Harper \u0026amp; Brothers. 1923.  \u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e     Original Illustration for \u003cem\u003eA Bunch of Buckskin\u003c\/em\u003e\u003cbr\u003e         by Frederic Remington.\u003cbr\u003e      New York. R.H. Russell, Publisher. 1901.\u003c\/span\u003e\u003cbr\u003e \u003cbr\u003e \u003cstrong\u003eIMAGE INFORMATION\u003c\/strong\u003e\u003cbr\u003e     Image Size: H 12.00” x W 9.00”\u003cbr\u003e     Matted \u0026amp; Framed:  H 19.50” x W 16.50”\u003cbr\u003e     Framed Price: $290.00  \u003cbr\u003e     Whiteglove packaging and shipping approximately $32.00\u003c\/div\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eHamlin Garland’s \u003cem\u003eBook of the American Indian\u003c\/em\u003e is like \u003cem\u003eHoward Pyle’s Book of Pirates\u003c\/em\u003e in the sense that the text and illustrations in both books were created years before the books were published by artists who had been dead for more than a decade.\u003c\/p\u003e\n\u003cp\u003eThe three colorized illustrations in Garland’s narrative (two dozen other illustrations are in B\u0026amp;W) appeared originally in a portfolio of eight pastel drawings FR called \u003cem\u003eA Bunch of Buckskin. \u003c\/em\u003eFR’s collection was published by R.H. Russell in 1901. The year before, Russell had published an edition of Washington Irving’s \u003cem\u003eHistory of New York \u003c\/em\u003ewith illustrations by Maxfield Parrish. The year after publishing Remington’s portfolio, Russell publish Charles Dana Gibson’s \u003cem\u003eThe Social Ladder\u003c\/em\u003e, which featured 84 witty social commentary cartoons.\u003c\/p\u003e\n\u003cp\u003eMerle Johnson had combed through old magazines to find thing Howard Pyle wrote about pirates. Garland combing through files of his own work to find stories about The Old West. Written between 1890 and 1905, Garland’s stories describe the final conquest of America’s Plains Indians. “Based on fifteen years of visits to reservations in the American West,” one reviewer explains, Garland’s “stories are of interest for readers today because they portray well-intentioned white reformer coming to understand a culture radically at odds with his own and discovering in the process that his own culture is less ‘advanced’ than he supposed.” In this sense, Remington’s austere illustrations are a good match for Garland’s text. \u003c\/p\u003e","brand":"AntiqueIllustrationArt.com","offers":[{"title":"Default Title","offer_id":17966372618336,"sku":"","price":290.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0261\/8105\/products\/Remington_Scout-1901_Book_of_Indians.jpg?v=1542232001"},{"product_id":"rare-beautifully-frame-1912-colorized-book-illustration-by-jessie-willcox-smith","title":"Jessie Willcox Smith illustration for \"Dicken's Children\" (1912): beautifully framed antique","description":"\u003cmeta charset=\"utf-8\"\u003e\u003cstrong\u003eJenny Wren – The Little Doll’s Dressmaker\u003cbr\u003e   \u003c\/strong\u003e\u003cspan\u003e For \u003c\/span\u003e\u003cem\u003eDickens’s Children\u003c\/em\u003e\u003cspan\u003e by the Artist.\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e    New York. Charles Scribner’s Son. 1912.  \u003c\/span\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eIMAGE INFORMATION\u003cbr\u003e  \u003c\/strong\u003e\u003cspan\u003e  Image Size: H 9.50” x W 6.75”\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e    Matted \u0026amp; Framed:  H 15.50” x W 11.75”\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e    Framed Price: $225.00  \u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan\u003e    \u003cstrong\u003eP\u003c\/strong\u003e\u003c\/span\u003e\u003c\/span\u003eackaging and shipping approximately $25.00\u003cbr\u003e\u003cstrong\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/strong\u003e\n\u003cp\u003eLate in the 19\u003csup\u003eth\u003c\/sup\u003e century, artists began using a process called “chromolithography” to colorize their pictures. Artists using this method would lay one ink color on the drawing they had made on lithographic plate. They would then press a page on it. After transferring the first color to the page, the artist would clean the plate, lay a second ink color on, and press the page on it again. Sometimes they would to this more than a dozen times. Ugh!\u003c\/p\u003e\n\u003cp\u003eLaying ink on ink increased tonal depth and image drama. But coloring images this way was time consuming and expensive. Because it diminished contrast, it also produced dim, fuzzy images. Publishers therefore printed relatively few chromolithographs.\u003c\/p\u003e\n\u003cp\u003eColor photography became commercially available early in the 20\u003csup\u003eth\u003c\/sup\u003e century, and after a technique called \"color separation\" was perfected, which made it commercially feasible to extract the color from a photographic negative and accurately reproduce it on a print surface, publishers abandoned chromolithography in favor of color photography.\u003c\/p\u003e\n\u003cp\u003eJWS’s illustrations for Robert Louis Stevenson’s \u003cem\u003eA Child’s Garden of Verses\u003c\/em\u003e, which was published by Charles Scribner’s Sons in 1905, used this image reproduction technology. The color in her pictures was bright and fresh, and this highlighted the freshness of her characters and their simple, charming world. Together, these image qualities opened a new age of illustration, “the age of color.” In 1912, JWS used this same technology to create \u003cem\u003eThe Children of Charles Dickens\u003c\/em\u003e. JWS’s artistry was no less brilliant, but because the book appealed to a smaller audience, it failed to achieve the success \u003cem\u003eA Child’s Garden of Verses \u003c\/em\u003edid. After this disappointment, Scribner focused its “Illustrated Classics” on adventure books for boys.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"AntiqueIllustrationArt.com","offers":[{"title":"Default Title","offer_id":17967158001760,"sku":"","price":250.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0261\/8105\/products\/Jenny_Wren_JWS_1912_Dickens.jpg?v=1542236296"},{"product_id":"rare-beautifully-framed-1909-book-end-paper-decoration-by-clara-elsene-peck","title":"Clara Elsene Peck end paper illustrations for \"In the Border Country\" (1909): rare, beautifully framed antique","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003e\u003cstrong\u003eEnd Papers:\u003cem\u003e In the Border Country\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan\u003e     Book by Josephine Daskam Bacon\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e     Illustrations by Clara Elsene Peck\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e     New York. Doubleday, Page \u0026amp; Company. 1909.\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e   \u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003eIMAGE INFORMATION\u003c\/strong\u003e\u003cbr\u003e\u003cspan\u003e     Image Size: H 7.50” x W 10.00”\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e     Matted \u0026amp; Framed:  H 15.00” x W 17.50”\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e     Framed Price: $250.00\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e \u003c\/span\u003e    Whiteglove packaging and shipping approximately $30.00\u003c\/p\u003e\n\u003cp\u003eGiven the magnitude of her talent, it is surprising that CEP did not achieve greater success. The reason she did not may be that she started her career doing book projects that served small audiences of women readers. By doing this, she may have branded herself as a producer of boutique books. This handicap may have been compounded by life decisions that moved her to the edge of the illustration community. \u003c\/p\u003e\n\u003cp\u003eCEP's career began in 1904 when publisher George W. Jacobs commissioned her to illustrate a vanity book by Philadelphia socialite Minna Thomas Antrim. Peck demonstrated her considerable talent as a graphic artist and book designer with two more projects for George Jacobs. Both these books were the work of Sara Hawks Sterling. The first was \u003cem\u003eShake-speare's Sweetheart\u003c\/em\u003e (1905), which CEP designed and illustrated. She did the same for the second, whose title was \u003cem\u003eA Lady of King Arthur's Court\u003c\/em\u003e (1907).\u003c\/p\u003e\n\u003cp\u003eIn \u003cem\u003eImagining Shakespeare's Wife: The Afterlife of Anne Hathaway\u003c\/em\u003e [Cambridge University Press. 2018.], Katherine West Scheil suggests that Sterling wrote the first of these books to explain Anne Hathaway’s life to “American women readers.” “At a time when women’s social and political roles were in flux,” Professor Sheil explains, \"it is not surprising to see Anne take a larger role for women readers and writers . . . A cluster of American women writers in the first two decades of the twentieth century crafted extensive portrayals of Anne designed primarily for women readers, produce with generous illustrations and elaborate packaging appropriate for keepsake books.” [122.]\u003c\/p\u003e\n\u003cp\u003eIn 1908, CEP produced a set of beautiful illustrations for Rudyard Kipling's \"The Adventures of Melissa.\" These pictures appeared in the 28 November 1908 issue of \u003cem\u003eCollier's Weekly. \u003c\/em\u003eCEP may have been pregnant with her first child when she began work on \u003cem\u003eIn Border Country\u003c\/em\u003e by Josephine Daskam Bacon. This  commission came from Doubleday. Comments about this\u003cspan\u003e peculiar little keepsake book\u003c\/span\u003e tend to focus on CEP's design and bewitching illustrations. Some, myself include, consider its end papers, which CEP filled with bright clear colors, its most appealing feature.\u003c\/p\u003e","brand":"AntiqueIllustrationArt.com","offers":[{"title":"Default Title","offer_id":17968809607264,"sku":"","price":250.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0261\/8105\/products\/Border_Country_End_Papers_1909.jpeg?v=1542845332"},{"product_id":"rare-beautifully-frame-1921-cover-for-rip-van-winkle-by-n-c-wyeth","title":"N. C. Wyeth  illustration from \"Treasure Island\" (1911): rare, beautifully framed antique","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003e\"All Day He Hung Around the Cove, or Upon the Cliffs with \u003c\/span\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003cspan\u003eBrass \u003c\/span\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003cspan\u003eTelescope\"\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv\u003e\n\u003cspan\u003e\u003c\/span\u003e\u003cspan\u003e    For \u003cem\u003eTreasure Island \u003c\/em\u003eby Robert Louis Stevenson. \u003c\/span\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cspan\u003e\u003c\/span\u003e\u003cspan\u003e    Illustrations by N. C. Wyeth\u003c\/span\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cspan\u003e    New York. Charles Scribner’s Sons. 1911.\u003c\/span\u003e\u003cspan\u003e\u003c\/span\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cspan\u003e\u003c\/span\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cspan\u003e\u003cspan\u003e\u003cstrong\u003eIMAGE INFORMATION​\u003c\/strong\u003e\u003cbr\u003e    Image Size: H 9.375” x W 6.875”\u003cbr\u003e    Matted \u0026amp; Framed:  H 16.375” x W 13.875”\u003cbr\u003e    Framed Price: $245.00\u003cbr\u003e   \u003c\/span\u003e\u003c\/span\u003e\u003cmeta charset=\"utf-8\"\u003e\n\u003cspan\u003e Whiteglove packaging and shipping approximately $30.00\u003c\/span\u003e\n\u003c\/div\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eCharles Scribner’s Sons launched their illustrated classics series in 1911. They knew NCW because he had, for more than five years, been sending them pieces for their magazines. The Scribners intended to market action stories to boys, and NCW had a knack for capturing action, so they chose NCW to create the pictures for their first book. It would be a new edition of Robert Louis Stevenson’s \u003cem\u003eTreasure Island.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eFollowing the instruction he received from Howard Pyle, NCW threw himself into the story. He cried every tear, cursed every curse, and fought every villain. Everything about his characters seemed as real therefore as if they were in the room. But the massive success he achieved with his pictures owed to two additional things, which he did not learn from Howard Pyle.\u003c\/p\u003e\n\u003cp\u003eIn the summer of 1904, NCW had gone to Colorado to fill a commission for Scribner's and T\u003cem\u003ehe Saturday Evening Post\u003c\/em\u003e. While in “the West,” he had seen the light! After that, he strove to paint light into his works. Then again, in 1908, he had moved his growing family from Wilmington to Chadds Ford, Pennsylvania. There he was surrounded by natural color. As he was painting his illustrations for \u003cem\u003eTreasure Island\u003c\/em\u003e he was changing his palette and adding pigments that would allow him to capture the brilliant colors he saw around him.\u003c\/p\u003e\n\u003cp\u003eIt took NCW two more years to complete his transition from the dark shadowy city painting he learned from Pyle to bright color-filled country painting that came to define his art after he moved to Chadds Ford. Wyeth had not escaped from Pyle’s city method of painting when he painted Billy Bones. The painting succeeded, however, because the artist was standing there with him on that tower cliff, braced against the chill sea air, waiting for . . .\u003c\/p\u003e\n\u003cdiv\u003e\u003cspan class=\"theme-text-color-2-4\"\u003e\u003cspan\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e","brand":"AntiqueIllustrationArt.com","offers":[{"title":"Default Title","offer_id":17969057136736,"sku":"","price":245.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0261\/8105\/products\/Captain_Billy_Bones_Treasure_Island_1911.jpg?v=1542249437"},{"product_id":"rare-beautifully-framed-1916-book-illustration-from-the-black-arrow-by-n-c-wyeth","title":"N. C. Wyeth illustration from “The Black Arrow” (1916): beautifully framed antique","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan\u003e\"Lawless, keeping half a step in front\"\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cspan\u003e\u003c\/span\u003e\u003cspan\u003e   \u003c\/span\u003e\u003cspan\u003eFor \u003cem\u003eThe Black Arrow – A Tale of the Two\u003c\/em\u003e Roses \u003c\/span\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e   by Robert Louis Stevenson. \u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cspan\u003e\u003c\/span\u003e\u003cspan\u003e   Illustrations by N. C. Wyeth\u003cbr\u003e   \u003c\/span\u003e\u003cspan\u003eNew York. Charles Scribner’s Sons. 1916.\u003c\/span\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eIMAGE INFORMATION​\u003c\/strong\u003e\u003cbr\u003e     Image Size: H 9.375” x W 6.875”\u003cbr\u003e     Matted \u0026amp; Framed:  H 16.375” x W 13.875”\u003cbr\u003e     Framed Price: $245.00\u003cbr\u003e    Whiteglove packaging and shipping approximately $30.00\u003c\/p\u003e\n\u003cp\u003eDuring his long career, NCW produced thousands of illustrations for hundreds of clients. He is best known today, however, for the pictures he created for the first half-dozen of his twenty-five Scribner’s Illustrated Classics. The first was, of course, \u003cem\u003eTreasure Island\u003c\/em\u003e, whose illustrations NCW created in 1911. He followed this in 1913 with \u003cem\u003eKidnapped\u003c\/em\u003e. He produced his illustrations for \u003cem\u003eThe Black Arrow \u003c\/em\u003ein 1916. This same year he produced his illustrations for \u003cem\u003eThe Boy’s King Arthur\u003c\/em\u003e. He produced his illustrations for \u003cem\u003eThe Mysterious Island\u003c\/em\u003e in 1918. The last of the great classical adventures was James Fennimore Cooper’s \u003cem\u003eLast of the Mohicans, \u003c\/em\u003ewhich NCW illustrated in 1919.\u003c\/p\u003e\n\u003cp\u003eBesides the illustrations NCW did for Scribner, he created illustrations for eighty-seven other books. All, or most, of these images were also brilliant, none were more so than the scenes he created for \u003cem\u003eRobin Hood \u003c\/em\u003e(published by David McKay in 1917), \u003cem\u003eRobinson Crusoe\u003c\/em\u003e (published by Cosmopolitan Books in 1920), and \u003cem\u003eRip Van Winkle\u003c\/em\u003e (published by David McKay in 1921).\u003c\/p\u003e\n\u003cp\u003eWhen NCW painted his illustrations for \u003cem\u003eThe Black Arrow\u003c\/em\u003e, he had finished upgrading his pallet. Adding power colors like Ultramarine Blue and Rose Madder allowed him to create mesmerizing purples. Alizarin Crimson was a stain that produced purple hues. \u003cspan\u003eBy 1913, he had \u003c\/span\u003egone Purple!\u003cem\u003e \u003c\/em\u003eNCW's purple magic electrifies the scenes he created for his second Scribner’s Classic. Nowhere is it more conspicuous that in \"Lawless, keeping half a step in front.\" NCW makes  his dark, deadly pursuit enchanting by putting him in mysteriously deep \u003cem\u003epurple\u003c\/em\u003e forest.\u003c\/p\u003e","brand":"AntiqueIllustrationArt.com","offers":[{"title":"Default Title","offer_id":18021041176672,"sku":"","price":245.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0261\/8105\/products\/Lawless_kept_one_step_ahead_Black_Arrow_1916.jpg?v=1542291174"},{"product_id":"rare-beautifully-framed-1917-book-illustration-from-robin-hood-by-n-c-wyeth-1","title":"N. C. Wyeth illustration from “Robin Hood” (1917): beautifully framed antique","description":"\u003cp\u003e\u003cstrong\u003e\"Their arrows flew together\"\u003c\/strong\u003e\u003cbr\u003e     For \u003cem\u003eRobin Hood\u003c\/em\u003e by Paul Creswick\u003cbr\u003e     Illustrations by N. C. Wyeth\u003cbr\u003e     Philadelphia. David McKay Publisher. 1917​\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eIMAGE INFORMATION​\u003c\/strong\u003e\u003cbr\u003e     Image Size: H 9.375” x W 6.875”\u003cbr\u003e     Matted \u0026amp; Framed:  H 16.375” x W 13.875”\u003cbr\u003e     Framed Price: $245.00\u003cbr\u003e    Whiteglove packaging and shipping approximately $30.00\u003c\/p\u003e\n\u003cp\u003eBesides the illustrations NCW produced for Scribner's Classics, he created images for eighty-seven other books. All, or most, of these were also brilliant, none more so than the scenes NCW produced for \u003cem\u003eRobin Hood, \u003c\/em\u003ewhich David McKay published the same year Scribner published \u003cem\u003eThe Boy's King Arthur\u003c\/em\u003e (1917).\u003c\/p\u003e\n\u003cp\u003eNCW had finished creating his “purple pallet” in 1913. \u003cem\u003eThe Black Arrow\u003c\/em\u003e had been his first \u003cem\u003epurple\u003c\/em\u003e illustrations. We see them again in \u003cem\u003eRobin Hood.\u003c\/em\u003e This enchanting scene, somewhere in Sherwood Forest, is a true Wyeth masterpiece. The artist uses the remnants of the instructions he received from Howard Pyle in 1902 by creating action with a slanting composition. As he did in all his works, NCW steps into this picture and takes part in the ambush. We can feel him pulling the bowstrings and squinting as he aims the deadly shafts.\u003c\/p\u003e\nBy 1917, the artist had escaped entirely from the dark shadowy city style Pyle used. Instead, here is Sherwood Forest, we have brilliant light, an abundance of color, and a swath of romantic purples that carry the viewer off into the world of make believe.","brand":"AntiqueIllustrationArt.com","offers":[{"title":"Default Title","offer_id":18022389317728,"sku":"","price":245.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0261\/8105\/products\/Their_arrows_flew_together_Robin_Hood_Creswick_1917_bac00a9d-4c83-4446-aa88-d4af69c615b8.jpg?v=1542296132"},{"product_id":"rare-beautifully-framed-1883-illustration-from-robin-hood-by-howard-pyle","title":"Howard Pyle illustration from \"Robin Hood\" (1883): a beautifully framed antique","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv\u003e\n\u003cspan\u003e\u003cstrong\u003e\"The Sheriff of Nottingham cometh before the King at London\"    \u003cbr\u003e   \u003c\/strong\u003e     Illustration for \u003cem\u003eThe Adventures of Robin Hood\u003c\/em\u003e\u003c\/span\u003e\u003cspan\u003e\u003cspan\u003e\u003cem\u003e\u003c\/em\u003e\u003cbr\u003e           by Howard Pyle\u003cbr\u003e        New York. Charles Scribner's Sons. 1883.\u003cbr\u003e\u003cbr\u003eI\u003cstrong\u003eMAGE INFORMATION\u003cbr\u003e \u003c\/strong\u003e   Image Size: H 9.125” x W 6.625”\u003cbr\u003e    Matted \u0026amp; Framed:  H 15.125” x W 12.625”\u003cbr\u003e    Framed Price: $225.00  \u003cbr\u003e    Whiteglove packaging and shipping approximately $25.00\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cb\u003e\u003c\/b\u003ePyle created this illustration in 1883 for what many consider to be his greatest work, \u003ci\u003eRobin Hood\u003c\/i\u003e. It was not engraved, however. It was photo-engraved.\u003c\/p\u003e\n\u003cp\u003ePyle’s original pen-and-inks were photographed, probably at the New York facility of John Moss, and converted using Moss’s actinic process onto inkable plates. In Moss's process, copper plates were coated with a light sensitive gel. Light beamed through a photographic negative struck and hardened the gel. The lines in the negative’s drawing blocked the light and prevented it from hardening the gel on the plate below. When the soluble parts of the gel were washed off, inkable troughs remained like those in an etching. This process worked for line drawings but not for shaded pictures.\u003c\/p\u003e\n\u003cp\u003eMoss's process suited Pyle in spite of its technical limitations. He was striving to recreate the atmosphere of Robin Hood's 12th century Sherwood Forest, and to do this, he had adapted a style of imaging reminiscent of Hans Dürer (1490-1534). None of the illustrations Pyle did for this masterpiece captured the ancient atmosphere of King John's England better than this one of the Sheriff of Nottingham paying homage to King John, recently returned from the Crusades.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"AntiqueIllustrationArt.com","offers":[{"title":"Default Title","offer_id":18140798582880,"sku":"","price":225.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0261\/8105\/products\/HP_Sheriff_of_Nottingham_Robin_Hood_1883.jpg?v=1542500383"},{"product_id":"rare-beautifully-framed-end-papers-for-the-1917-edition-of-robin-hood-illustrate-by-n-c-wyeth","title":"N. C. Wyeth end paper illustrations from \"Robin Hood\" (1917): rare, beautifully framed antique","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003e\u003cstrong\u003eEnd Papers for \u003cem\u003eRobin Hood\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e    By Paul Creswick\u003cbr\u003e    Illustration by N. C. Wyeth\u003cbr\u003e    Philadelphia. David McKay Publisher. 1917​\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e​IMAGE INFORMATION​\u003cbr\u003e\u003c\/strong\u003e    Image Size: H 9.25” x W 14.0”\u003cbr\u003e    Matted \u0026amp; Framed:  H 16.25” x W 21.0”\u003cbr\u003e    Framed Price: $300.00\u003cbr\u003e    Whiteglove handling and shipping: $32.00\u003c\/p\u003e\n\u003cp\u003eDrawing on his arsenal of artistic gifts and painting techniques allowed to NCW to produce hundreds of illustrations that were loved by the reading public. None were more brilliant than the scenes he produced for the two books he produced in 1917. The first was his fourth Scribner's Classic, \u003cem\u003eThe Boy's King Arthur. \u003c\/em\u003eThe second was the edition of \u003cem\u003eRobin Hood \u003c\/em\u003ehe produced later in the year for David McKay.\u003c\/p\u003e\n\u003cp\u003eNCW had finished creating his “purple palette” in 1913.\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eThe Black Arrow\u003c\/em\u003e\u003cspan\u003e set \u003c\/span\u003ehad been his first\u003cspan\u003e \u003c\/span\u003e\u003cem\u003epurple\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eillustrations. We see them again in\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eRobin Hood.\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eThis enchanting scene, somewhere in Sherwood Forest, is a true Wyeth masterpiece. The artist uses the remnants of the instructions he received from Howard Pyle in 1902 by creating action with a slanting composition. As he did in all his works, NCW steps into this picture and takes part in the ambush. We can feel him pulling the bowstrings and squinting as he aims the deadly shafts.\u003c\/p\u003e\n\u003cspan\u003eBy 1917, the artist had escaped entirely from the dark shadowy city style Pyle used. Instead, here is Sherwood Forest, we have brilliant light, an abundance of color, and a swath of romantic purples and plums that carry the viewer off into the world of make believe.\u003c\/span\u003e","brand":"AntiqueIllustrationArt.com","offers":[{"title":"Default Title","offer_id":18161705779296,"sku":"","price":300.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0261\/8105\/products\/Wyeth_Robin_Hood__End_Papers-1_1921.jpg?v=1542585507"},{"product_id":"rare-beautifully-framed-title-page-for-1917-edition-of-robin-hoodillustrated-by-n-c-wyeth","title":"N. C. Wyeth title page illustration from \"Robin Hood\" (1917): rare, beautifully framed antique","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eTitle Page for \u003cem\u003eRobin Hood\u003c\/em\u003e\u003cbr\u003e  \u003c\/strong\u003e  By Paul Creswick\u003cbr\u003e    Illustrations by N. C. Wyeth\u003cbr\u003e    Philadelphia. David McKay Publisher. 1917​\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003e​IMAGE INFORMATION​\u003cbr\u003e\u003c\/strong\u003e    Image Size: H 9.25” x W 7.0”\u003cbr\u003e    Matted \u0026amp; Framed:  H 16.25” x W 14.0”\u003cbr\u003e    Framed Price: $245.00\u003cbr\u003e    Whiteglove handling and shipping approximately: $32.00\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003eApplying a great natural talent channeled by Howard Pyle into the art of storytelling, NCW became one of America's most popular illustrators. His career stretched from 1904 until his tragic death in 1945.\u003c\/p\u003e\n\u003cp\u003eNCW's popularity owed to three special gifts that he made apparent in his work: 1) his ability to insert himself into the stories he interpreted, 2) his ability to create drama by picturing moments of high action, and 3) his ability to paint dazzling, color-filled pictures.\u003c\/p\u003e\n\u003cp\u003eNCW finished upgrading his palette in the mid-1910s. A new phase of his career opened as he created scenes with this  new \"purple\" pallet. He \u003cspan\u003ecreated two of his most brilliant series of illustrations in 1917.\u003c\/span\u003e The first was his fourth Scribner's Classic, \u003cem\u003eThe Boy's King Arthur.\u003cspan\u003e \u003c\/span\u003e\u003c\/em\u003eThe second was the edition of\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eRobin Hood\u003cspan\u003e \u003c\/span\u003e\u003c\/em\u003ehe produced later in that year for David McKay.\u003c\/p\u003e\n\u003cp\u003eWe see in these pictures that by 1917, the artist had escaped entirely from the dark shadowy city style he had learned from Howard Pyle. In Sherwood Forest, we have brilliant light, an abundance of color, and swaths of romantic purple and plum. The artist uses his title page scene to point his audience into the romantic world of adventure they are about to enter. The moment he portrays is typical for NCW, crisp and clear, beautifully formed characters, muscles tensed. The action is about to begin!\u003c\/p\u003e","brand":"Commonwealth Book Publishers of Virginia","offers":[{"title":"Default Title","offer_id":18161817583712,"sku":"","price":245.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0261\/8105\/products\/Wyeth_Robin_Hood__Title_Page-1921.jpg?v=1542587303"},{"product_id":"rare-beautifully-framed-1906-gibson-girl-life-cover-by-charles-dana-gibson","title":"\"Gibson Girl\" cover illustration for \"Life\" magazine (1908): rare, beautifully framed antique","description":"\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003e\u003cstrong\u003eCover: \u003cem\u003eLife Magazine  \u003c\/em\u003e    \u003c\/strong\u003e       \u003c\/span\u003e\n\u003cdiv\u003e\n\u003cspan\u003e    By Charles Dana Gibson\u003cbr\u003e \u003c\/span\u003e\u003cspan\u003e    April 19, 1908 Issue\u003c\/span\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cspan\u003e\u003cspan\u003e\u003cstrong\u003eIMAGE INFORMATION\u003c\/strong\u003e\u003cbr\u003e    Image Size: H 15.00” x W 11.00”\u003cbr\u003e    Matted \u0026amp; Framed:  H 22.00” x W 18.00”\u003cbr\u003e    Framed Price: $285.00  \u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cmeta charset=\"utf-8\"\u003e\n\u003cspan\u003e\u003cstrong\u003e\u003c\/strong\u003e    Whiteglove packaging and shipping approximately $25.00\u003c\/span\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cp\u003eThis famous \u003cem\u003eLife\u003c\/em\u003e cover features an enchanting woman who is noticing you noticing her.\u003c\/p\u003e\n\u003cp\u003eShe is of course a Gibson Girl, which means that she is not just a beautiful vision. According to Susan Meyer, she represents “the independent spirit.” Gallant, courageous, self-reliant, she was “equally self-assured at a cotillion, on the seat of a bicycle, or in a canoe.” [\u003cem\u003eAmerica's Great Illustrators.\u003c\/em\u003e Galahad Books. 1978. 208.] “An entire generation fell under the sway of her charms,” Prof. Meyer tells us. This alluring person left “an indelible imprint on the American character.”\u003c\/p\u003e\n\u003cp\u003eWhy was CDG able to produce this phenomenon? The only biography of Charles Dana Gibson was written by Fairfax Downey and published by Charles Scribner’s Sons in 1936. The author called it “A Portrait of an Era.” The era that Downey described was, naturally enough, the period in which CDG became famous. It was during these years that the nation industrialized. At the same time, corporations nationalized their markets and transformed Americans into \u003cem\u003econsumers\u003c\/em\u003e. While doing these things, the titans of American industry became so rich and profligate that Mark Twain christened their glorious moment The Gilded Age. It was also the Golden Age of American Illustration.\u003c\/p\u003e\n\u003cp\u003eIt tends to be forgotten with all the moralizing about the evils of conspicuous consumption and the unequal distribution of wealth that the Gilded Age was also the period in which the great American middle class formed. This powerful, restless organism was the driving force that underpinned America’s great economic miracle. Not everyone was lifted up during this miraculous event, but people everywhere were, and every American was eager to share in its bounty. For American consumers, men and women alike, the creature CDG presented them every day was the embodiment of this wonderful new world. Seeing her filled them with optimism and enthusiasm. \"We can be like her,\" they fantasized imagined, What a scintillating idea! No wonder CDG became famous—and rich!\u003c\/p\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/div\u003e","brand":"AntiqueIllustrationArt.com","offers":[{"title":"Default Title","offer_id":18162718310496,"sku":"","price":285.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0261\/8105\/products\/CDG_Gibson_Girl_Life_04-19-1908.jpg?v=1543351881"},{"product_id":"rare-beautifully-framed-1921-illustration-from-rip-van-winkle-by-n-c-wyeth","title":"N. C. Wyeth illustration from \"Rip Van Winkle\" (1921): rare, beautifully framed antique","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003cstrong\u003e\"Though these folks were evidently amusing themselves,\u003c\/strong\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cspan\u003e\u003cstrong\u003e    they m\u003c\/strong\u003e\u003c\/span\u003e\u003cspan\u003e\u003cstrong\u003eaintained \u003c\/strong\u003e\u003c\/span\u003e\u003cspan\u003e\u003cstrong\u003ethe gravest faces\"\u003c\/strong\u003e\u003cstrong\u003e\u003cbr\u003e \u003c\/strong\u003e   For \u003cspan class=\"theme-text-color-2-4\"\u003e\u003cem\u003eRip Van Winkle b\u003c\/em\u003ey Washington Irving\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003cspan class=\"theme-text-color-2-4\"\u003e    Illustrations by N. C. Wyeth\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003cspan class=\"theme-text-color-2-4\"\u003e    Philadelphia. David McKay Company. 1921.\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cspan\u003e\u003cspan\u003e\u003cspan class=\"theme-text-color-2-4\"\u003e   \u003cbr\u003e\u003cstrong\u003eIMAGE INFORMATION​\u003c\/strong\u003e\u003cbr\u003e    Image Size: H 10.00” x W 6.875”\u003cbr\u003e    Matted \u0026amp; Framed:  H 17.00” x W 13.875”\u003cbr\u003e    Framed Price: $255.00\u003cbr\u003e    P\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003eackaging and shipping approximately $25.00\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eWashington Irving’s\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eRip Van Winkle\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003ewas first published in 1819. Rip Van Winkle in “a little village of great antiquity” at the foot of the Kattskill Mountains many miles up the Hudson River from New York City. It is said that the author, having suffered a bankruptcy the year before he wrote his famous story, was living at the time in Kinderhook where was employed as a tutor by one the town’s leading families. He later admitted to friend that \"when I wrote the story, I had never been on the Catskills.\"\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp\u003eWhether N. C. Wyeth was ever “on the Catskills” I do not know, but he was not there when he painted his celebrated illustrations for David McKay in the summer of 1921. Wyeth biographer David Michaelis notes that by 1918, NCW had become unhappy with his financial arrangement with Scribners. “When the David McKay Company offered him\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eRip Van Winkle\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003ewith his originals back, and then the Cosmopolitan Book Company asked for\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eRobinson Crusoe\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003ewith an advance on royalties plus originals back, he realized that he had been given a ‘club to hold over the Scribner Co.” [Michaelis\u003cem\u003e. N. C. Wyeth\u003c\/em\u003e. 272.]\u003c\/p\u003e\n\u003cp\u003eNCW painted his Rip Van Winkle illustrations while visiting Needham, Massachusetts, his home town, in the summer of 1921. Being far from what Washington Irving described as these “fairy mountains” did not hamper the artist, however. When the book appeared later that year, one reviewer wrote: “Perhaps even more than Washington Irving’s tale, the pictures tell the weird swiftness of human life . . . no other illustrator ever achieved such a poignant mingling of psychological truth and natural mystery.” [Michaelis. 282.] As accolades poured in, NCW said this in a letter to a friend: “If it wasn’t that I was enabled to pour snatches of sunshine and shadow, storm or moonshine, into my [illustrations] I could never stood the strain.”\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"AntiqueIllustrationArt.com","offers":[{"title":"Default Title","offer_id":18167580688480,"sku":"","price":245.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0261\/8105\/products\/Wyeth_ripvanwinkle00irvi_Page_063.jpg?v=1542683553"},{"product_id":"rare-beautifully-framed-1904-illustration-from-poems-of-childhood-by-maxfield-parrish","title":"Maxfield Parrish illustration from \"Poems of Childhood\" (1904): beautifully framed antique","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003cb\u003eTh Dinkey-Bird\u003c\/b\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e    Illustration for \u003cem\u003ePoems of Childhood\u003c\/em\u003e \u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e    by Eugene Field. \u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e    Illustrations by Maxfield Parrish\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cspan\u003e    New York. Charles Scribner’s Sons. 1904.\u003cbr\u003e\u003cstrong\u003e\u003cbr\u003eIMAGE INFORMATION\u003c\/strong\u003e\u003cbr\u003e    Image Size: H 9.375” x W 6.50”\u003cbr\u003e    Matted \u0026amp; Framed:  H 15.375” x W 12.50”\u003cbr\u003e    Framed Price: $195.00  \u003cbr\u003e    Whiteglove handling and shipping\u003c\/span\u003e approximately $25.00\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eCoy Ludwig reported in his 1973 illustrated biography of MP that “\u003cem\u003ePoems of Childhood\u003c\/em\u003e was the first book in which Maxfield Parrish’s paintings were reproduced in full color. As with prior illustrations, he allowed the author’s text only to suggest the subject, and from that point the interpretation was his. This led Edward Bok, the Editor of the Ladies’ Home Journal, to remark that there was more of Parrish than of Field in some of the illustration, but that the artist should not be blamed for that. It was, in fact, a sign of Parrish’s artistic integrity and inventiveness that he did not take the ore conventional, easier approach toward the interpretation of the texts that he was commissioned to illustrate. \u003c\/p\u003e\n\u003cp\u003eThe Dinkey-Bird, by far the most familiar of the illustrations in the \u003cem\u003ePoems of Childhood\u003c\/em\u003e, was conceived by Parrish as a composition to show “the spirit of the swing, just the catch in the turn of the motion.” The nude figure of a youth, a symbol of freedom and innocence, heightens thesense of abandon and joy that seems always to be a part of swinging. In expressing the spirit of the swing, Parrish also captured the spirit of the poem.” [Maxfield Parrish. Watson-Guptill Publications. 31.]\u003c\/p\u003e\n\u003c\/div\u003e","brand":"AntiqueIllustrationArt.com","offers":[{"title":"Default Title","offer_id":18172551463008,"sku":"","price":195.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0261\/8105\/products\/MP_Dinkey_Bird_1904.jpg?v=1542753066"},{"product_id":"gibson-girlcover-for-life-magazine-1906-rare-beautifully-framed-illustration","title":"\"Gibson Girl\"cover for \"Life\" magazine (1906): rare, beautifully framed illustration","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003cstrong\u003eCover: \u003cem\u003eLife Magazine\u003c\/em\u003e             \u003cbr\u003e\u003c\/strong\u003e    By Charles Dana Gibson\u003cbr\u003e    July 19, 1906 Issue\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eIMAGE INFORMATION\u003cbr\u003e    \u003c\/strong\u003eImage Size: H 10.75” x W 8.75”\u003cbr\u003e    Matted \u0026amp; Framed:  H 17.75” x W 15.75”\u003cbr\u003e    Framed Price: $265.00  \u003cbr\u003e    Whiteglove packaging and shipping\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cspan\u003e\u003cspan\u003e       approximately $32.0\u003cstrong\u003e0\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/span\u003e\n\u003cp\u003eThis \u003cem\u003eLife\u003c\/em\u003e cover features another variation of Charles Dana Gibson’s alluring “Gibson Girl.”\u003c\/p\u003e\n\u003cp\u003eShe is not only the personification of stylish beauty. She is, according to Susan Meyer, “the independent spirit.” Gallant, courageous, self-reliant, she was “equally self-assured at a cotillion, on the seat of a bicycle, or in a canoe.” [\u003cem\u003eAmerica's Great Illustrators.\u003c\/em\u003e Galahad Books. 1978. 208.] “An entire generation fell under the sway of her charms,” Prof. Meyer tells us. This alluring person left “an indelible imprint on the American character.”\u003c\/p\u003e\n\u003cp\u003eHow did CDG produce this phenomenon? Fairfax Downey, who wrote the only biography of Charles Dana Gibson i(n 1936), characterized his narrative as “A Portrait of an Era.” The era was of course the period in which CDG became famous. These years overlapped the period when the nation industrialized and corporations nationalized their markets. As they were doing these things, they were also developing the marketing programs that transformed the American people into \u003cem\u003econsumers\u003c\/em\u003e.\u003c\/p\u003e\n\u003cp\u003eMark Twain called this period \"the Gilded Age.\" During the Gilded Age the rich were getting horribly rich and spent gobs of money on things like yachts and touring cars with chauffeurs, and added ballrooms to their mansions. When he was not drawing Gibson Girls, Charles Dana Gibson drew cartoons making fun of them.\u003c\/p\u003e\n\u003cp\u003eWhy was the Gibson Girl so influential and significant?\u003c\/p\u003e\n\u003cp\u003eThe west was being tamed and settled; the nation was being transformed into an integrated system of markets and consumers; and the privileged few were making and squandering fortunes. As these fascinating events were occurring, the people who made and bought things in America, people who superintend each step of in the chain of production and distribution, looked up at the people above them on the social ladder. Someday, many of these people thought, I will be where they are.\u003c\/p\u003e\n\u003cp\u003eDuring the Gilded Age, men and women alike were industrious, ambitious enterprisers. They interpreted Charles Dana Gibson’s caricature as the embodiment of things they wanted for themselves. Each time they saw Gibson's girl they remembered the wonderful things the future held for them. \u003c\/p\u003e\n\u003c\/div\u003e","brand":"AntiqueIllustrationArt.com","offers":[{"title":"Default Title","offer_id":18208393986144,"sku":"","price":265.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0261\/8105\/products\/CDG_Gibson_Girl_Life-1906.jpg?v=1542999230"},{"product_id":"sarah-stilwell-weber-advertisement-for-kiddie-kars-1920-beautifully-framed-antique-illustration","title":"Sarah Stilwell Weber advertisement for Kiddie Kars (1920): beautifully framed antique illustration","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003cstrong\u003eAdvertisement: Kiddie Kar\u003c\/strong\u003e\u003cbr\u003e    By Sarah Stilwell Weber\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003cem\u003e​    \u003c\/em\u003eSource publication of this advertisement \u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e    is not known. \u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e    C. 1920.\u003cbr\u003e    \u003cbr\u003e\u003cstrong\u003eIMAGE INFORMATION\u003c\/strong\u003e\u003cbr\u003e    Image Size: H 11.50” x W 8.25”\u003cbr\u003e    Matted \u0026amp; Framed:  H 17.50” x W 14.25”\u003cbr\u003e    Framed Price: $195.00  \u003cbr\u003e\u003cstrong\u003e\u003c\/strong\u003e    Whiteglove packaging and shipping\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e       approximately $25.00\u003c\/span\u003e\u003c\/div\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eWhen not creating covers, SS illustrated books, magazine articles, and advertisements Kiddie Kar, Rit Dyes, Scranton Lace Company, and Wamsutta Mills. So popular were her Kiddie Kar ads that in 1920, Lippincott republished them in a small book called \u003cem\u003eKiddie Kar Verses\u003c\/em\u003e. The book contained nine Kiddie Kar illustrations each accompanied by verse written by Richard J. Walsh.\u003c\/p\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cp\u003eA review of the book that appeared in a 1920 issue of \u003cem\u003eThe Bookseller, Newsdealer and Stationer \u003c\/em\u003e[Volume 53] reported that “there never were jollier pictures than those which show the youngsters with their Kiddie Kars both in and out of doors and each of these pictures is accompanied with appropriate and happy versus describing the fun and adventure which this popular toy furnishes. Lining leaves and pages are attractively decorated [by SS] and the whole make-up of this nursery gem is calculated to make entrancing hours of recreation for small tots.” \u003c\/p\u003e\n\u003cp\u003eRichard Walsh was advertising executive who, it seems, worked frequently with Lippincott. He later recalled the poems he wrote for H. C. White Company’s patented toy. “The versus,” he confessed, “are, of course, frank imitations of Stevenson.”\u003c\/p\u003e","brand":"AntiqueIllustrationArt.com","offers":[{"title":"Default Title","offer_id":18209012416608,"sku":"","price":195.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0261\/8105\/products\/Kiddie_Kar_Ad.jpeg?v=1543004631"},{"product_id":"mead-schaeffer-end-paper-illustrations-for-tom-cringles-log1927-rare-beautifully-framed-antigue","title":"Mead Schaeffer end paper illustrations for \"Tom Cringle's Log\"(1927): rare, beautifully framed antique","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003e\u003cstrong\u003eEnd Papers for Tom Cringle's Log    \u003c\/strong\u003e\u003cem\u003e    \u003c\/em\u003e   \u003cbr\u003e      By Michael Scott\u003cbr\u003e      Illustrations by Mead Schaeffer\u003cbr\u003e      New York. Dodd, Mead and Company. 1927.\u003cbr\u003e    \u003cbr\u003e \u003cstrong\u003eIMAGE INFORMATION\u003c\/strong\u003e\u003cbr\u003e      Image Size: H 9.375” x W 14.00”\u003cbr\u003e      Matted \u0026amp; Framed:  H 16.375” x W 24.00”\u003cbr\u003e      Framed Price: $285.00\u003cbr\u003e      Whiteglove packaging and shipping\u003cbr\u003e        approximately $35.00\u003c\/p\u003e\n\u003cp\u003eWhile studying at the Pratt Institute between 1917 and 1920, \u003cspan\u003eMS gained a reputation as a gifted artist\u003c\/span\u003e. The accolades he won as a student were reinforced by Harvey Dunn and Dean Cornwell, who endorsed him for his first commissions.\u003c\/p\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003e\u003cspan\u003eWhile still a student, A.L. Burt Company of New York hired MS to create covers and frontispieces for a boy’s adventure series L. P. Wyman was then writing. MS appears to have received a second commission as he was finishing Burt's project (c. 1921). This commission from \u003c\/span\u003e\u003cspan\u003eHarcourt, Brace was to illustrate \u003c\/span\u003e\u003cspan\u003e\u003cem\u003eThe Black Buccaneer \u003c\/em\u003e\u003c\/span\u003e\u003cspan\u003eby Stephen W. Meader. Significant questions surround this project because the illustrations MS created for the\u003c\/span\u003e\u003cspan\u003e raucous sea adventure are in the \u003c\/span\u003e\u003cspan\u003estyle he used \u003cem\u003eafter\u003c\/em\u003e studying with Harvey Dunn (c. 1920-1923) and Dean Cornwell (c. 1926-1927).\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"margin: 0in 0in 12.0pt 0in;\"\u003e\u003cspan style=\"font-size: 11.5pt; font-family: 'Helvetica Neue'; color: black;\"\u003eMS appeared to have worked with Dunn after completing his studies at Pratt. Dunn was an all-purpose artistic genius known particularly for the masterful way he applied pigment. It seems MS turned to Dunn in the early 1920s to improve his brush work and add motion to his scenes. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"margin: 0in 0in 12.0pt 0in;\"\u003e\u003cspan style=\"font-size: 11.5pt; font-family: 'Helvetica Neue'; color: black;\"\u003eImprovements in these painterly fundamentals led to the large commission from Dodd, Mead in 1922. This involved producing illustrations for a series of classic adventure novels. \u003c\/span\u003eOver the next eight years, MS illustrated more than a dozen books for Dodd, including  \u003cem\u003eMoby Dick\u003c\/em\u003e (1923), \u003cem\u003eTypee\u003c\/em\u003e (1923), \u003cem\u003eOmoo\u003c\/em\u003e (1926), \u003cem\u003eThe Cruise of the Cachalot\u003c\/em\u003e (1926), \u003cem\u003eTom Cringle’s Log \u003c\/em\u003e(1927), \u003cem\u003eThe Count of Monte Cristo\u003c\/em\u003e (1928), \u003cem\u003eThe Three Musketeers\u003c\/em\u003e (1929), \u003cem\u003eLorne Doone\u003c\/em\u003e (1930), \u003cem\u003eLes Miserables\u003c\/em\u003e (1930), and \u003cem\u003eWreck of the Grosvenor \u003c\/em\u003e(undated). \u003cspan style=\"font-size: 11.5pt; font-family: 'Helvetica Neue'; color: black;\"\u003eThe last half-dozen these exhibit MS’s mature style, being  action-oriented compositions, a la Dean Cornwell, painted with flamboyant brush strokes, a la Harvey Dunn.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eThe end papers MS produced for \u003cem\u003eTom Cringle’s Log \u003c\/em\u003eperfectly portray \u003cspan\u003eMichael Scott's \u003c\/span\u003epiratical tale. It appeared originally in serial form between 1829 and 1833. Editor William McFee explained in his preface that Scott spent many of his early years in the West Indies while the things he wrote about were taking place. According to McFee, while Scott's stories were not deep, they were never dull. Schaeffer’s interpretations of them pull the reader into Scott's page-turning adventure. Like N. C. Wyeth, we sense that Schaeffer is aiming the cannon, clawing over the rail, and running the scoundrel through with his cutlass. We are in the thick of the action because MS was part \u003cspan\u003eof it\u003c\/span\u003e.\u003c\/p\u003e\n\u003cp style=\"margin: 0in 0in 12.0pt 0in;\"\u003e\u003cspan style=\"font-size: 11.5pt; font-family: 'Helvetica Neue'; color: black;\"\u003eThe color scheme of the sea battle pictured in the book’s end papers is purposely subdued, being that M designed it to set the tone of the story rather than to tell it.  \u003c\/span\u003e\u003c\/p\u003e","brand":"AntiqueIllustrationArt.com","offers":[{"title":"Default Title","offer_id":18210851029088,"sku":"","price":265.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0261\/8105\/products\/Tom_Cringle_s_Log_1927.jpg?v=1543069708"},{"product_id":"n-c-wyeth-illustration-from-the-last-of-the-mohicans-1919","title":"N. C. Wyeth illustration from \"The Last of the Mohicans\" (1919): rare, beautifully framed antique","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003cb\u003eThe Battle at Glens Falls\u003c\/b\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003cstrong\u003e \u003c\/strong\u003e   For \u003cem\u003eThe Last of the Mohicans\u003c\/em\u003e\u003cspan class=\"theme-text-color-2-4\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003cspan class=\"theme-text-color-2-4\"\u003e    Illustrations by N. C. Wyeth\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e    New York. Charles Scribner's Sons. 1919\u003cspan class=\"theme-text-color-2-4\"\u003e.\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003cspan class=\"theme-text-color-2-4\"\u003e   \u003cbr\u003e\u003cstrong\u003eIMAGE INFORMATION​\u003c\/strong\u003e\u003cbr\u003e    Image Size: H 9.375” x W 7.00”\u003cbr\u003e    Matted \u0026amp; Framed:  H 16.375” x W 14.00”\u003cbr\u003e    Framed Price: $245.00\u003cbr\u003e    Whiteglove handling and shipping\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003cspan class=\"theme-text-color-2-4\"\u003e       approximately $25.00\u003cbr\u003e    \u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp\u003eBy 1917, the year he created his color-filled illustrations for \u003cem\u003eRobin Hood\u003c\/em\u003e and \u003cem\u003eThe Boy’s King Arthur\u003c\/em\u003e, NCW had completed his move beyond the shadowy city style of his famous teacher, Howard Pyle. Wyeth’s paintings were clear and bright. Yes—he continued to use Pyle’s technique by composing his scenes with diagonals and interesting lines to create the sense of motion. But unlike Pyle, NCW used contrasting light and dark colors to intensify the action he was depicting.\u003c\/p\u003e\n\u003cp\u003eThere is no better example of this than his brilliant “Battle at Glens Falls, the signature illustration in Scribner’s 1919 edition of \u003cem\u003eThe Last of the Mohicans\u003c\/em\u003e. The positions of the combatants are fixed forever on the artist’s canvas, but the viewer sees a swirl of action that has reached the exact moment when one of these two powerful men, wrapped in a deadly contest, will hurl off the precipice and be destroyed!\u003c\/p\u003e\n\u003cp\u003eWyeth further intensifies the drama of his scene by pitting two exemplars of manhood, being products of competing civilizations from opposite sides of the world, in a match that unfolds in one its most breathtakingly beautiful places. As was his way, Wyeth depicts every straining sinew of the two enemies as they fight to the death.\u003c\/p\u003e\n\u003cp\u003eWe are there on the cliff because he is there. All in! Clutching a throat. Heaving his weight. gasping in an unforgiving rage. The reality he depicts is conditioned, however, by the purple of the rocks and the billowing scarlet-hued clouds above the emerald green falls. In these magical colors, we see unknowingly that it is all make belief. A figment of N. C. Wyeth’s unbounded imagination.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003cspan class=\"theme-text-color-2-4\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e","brand":"AntiqueIllustrationArt.com","offers":[{"title":"Default Title","offer_id":18237658726496,"sku":"","price":245.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0261\/8105\/products\/Wyeth_Mohicans_Fight_at_glen_Falls_1919.JPG?v=1543451274"},{"product_id":"n-c-wyeth-illustration-from-the-last-of-the-mohicans-1919-rare-beautifully-framed-antique","title":"N. C. Wyeth illustration from \"The Last of the Mohicans\" (1919): rare, beautifully framed antique","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003cb\u003eFight in the Forests\u003c\/b\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003cstrong\u003e \u003c\/strong\u003e   For \u003cem\u003eThe Last of the Mohicans\u003c\/em\u003e\u003cspan class=\"theme-text-color-2-4\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003cspan class=\"theme-text-color-2-4\"\u003e    Illustrations by N. C. Wyeth\u003c\/span\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e    New York. Charles Scribner's Sons. 1919\u003cspan class=\"theme-text-color-2-4\"\u003e.\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cspan\u003e\u003cspan class=\"theme-text-color-2-4\"\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cspan\u003e\u003cspan class=\"theme-text-color-2-4\"\u003e \u003c\/span\u003e\u003c\/span\u003e\n\u003c\/div\u003e\n\u003cp\u003e\u003cstrong\u003eIMAGE INFORMATION​\u003c\/strong\u003e\u003cbr\u003e     Image Size: H 9.375” x W 7.00”\u003cbr\u003e     Matted \u0026amp; Framed:  H 16.375” x W 14.00”\u003cbr\u003e     Framed Price: $245.00\u003cbr\u003e     Whiteglove handling and shipping approximately $25.00\u003c\/p\u003e\n\u003cp\u003eBy 1917, the year he created his color-filled illustrations for \u003cem\u003eRobin Hood\u003c\/em\u003e and \u003cem\u003eThe Boy’s King Arthur\u003c\/em\u003e, NCW had completed his move beyond the shadowy city style of his famous teacher, Howard Pyle. Wyeth’s paintings were clear and bright. Yes—he continued to use Pyle’s technique by composing his scenes with diagonals and interesting lines to create the sense of motion. But unlike Pyle, NCW used contrasting light and dark colors to intensify the action he was depicting.\u003c\/p\u003e\n\u003cp\u003eIn this thrilling scene, the artist pictures the desperate fight between “Le Renard Subtil” (the Wily Fox) and “Le Gros Serpent” (the Great Snake). The Wily Fox is Magua, principle villain in James Fennimore Cooper’s famous adventure. As for the Great Snake, his name makes him sound like the more evil of the two, but he is the friend of the book’s hero, Natty Bumppo, a.k.a. Hawkeye. The story takes place in the wilds of upstate New York during the bloody French and Indian War.\u003c\/p\u003e\n\u003cp\u003eMagua, a brooding Huron outcast, has sworn to kill English Colonel Munro. The honorable Colonel is the commandant of Fort William Henry, which protects English colonials from Indian raiding parties that sweep down from Canada on Lake Champlain and Lake George. Magua’s hatred for the English commander traces to a humiliating whipping he received at the hands of Colonel Munro for drinking “fire-water” and becoming drunk at his fort.\u003c\/p\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003e\u003cspan\u003eLe Gros Serpent's\u003c\/span\u003e English friends know him as Chingachgook, Chief of the Mohicans and father of Uncas. These two fearless naturals are the last of the Mohican tribe. On the outer edge of the civilized world, they stand toe to toe against the malignant French and their Huron allies. The fight between Magua and Chingachgook represents, in other words, the struggle between good and evil. NCW pictures it as a no holds barred fight to the death. The only concession to the world of law and morality here is the club Hawkeye holds poised over his head, which will soon crash down on the rogue who is trying to tip the scales in favor of evil.\u003c\/p\u003e\n\u003cp\u003eUnlike the battle on the ledge at Glens Falls, which NCW intensified with a diagonal composition, this scene is built in a circular form, which reinforced the impression that the struggle it portrays is unending. And so it is.\u003c\/p\u003e\n\u003cp\u003eWe have to refer to the book’s cover illustration to determine which is which in this episode. The figure in the buckskin jersey with the murderous grimace is \u003cspan\u003ethe Wily Fox. \u003c\/span\u003eThe other, whose iron grip stays his deadly dagger, is \u003cspan\u003ethe Great Snake. \u003c\/span\u003e\u003cspan style=\"font-size: 11.5pt; font-family: 'Helvetica Neue'; color: black;\"\u003eInterestingly, he outlives them all!\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e","brand":"AntiqueIllustrationArt.com","offers":[{"title":"Default Title","offer_id":18243409444960,"sku":"","price":245.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0261\/8105\/products\/Wyeth_Mohicans_Fight_1919.JPG?v=1543549034"},{"product_id":"howard-pyle-story-illustration-for-harpers-monthly-magazine-may-1890-issue","title":"Howard Pyle story illustration for \"Harper's Monthly Magazine\" May 1890 issue","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003cstrong\u003eIn the Reading Room\u003c\/strong\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003cstrong\u003e\u003c\/strong\u003e     Illustration for “Old New York Taverns”\u003cbr\u003e         by John Austin Stevens\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e     Illustrations by Howard Pyle\u003cbr\u003e     \u003cem\u003eHarper’s Monthly\u003c\/em\u003e. Vol. 80. May, 1890.\u003cbr\u003e\u003cstrong\u003e\u003cbr\u003eIMAGE INFORMATION\u003cbr\u003e\u003c\/strong\u003e    Image Size: H 7.5” x W 10.5”\u003cbr\u003e    Matted \u0026amp; Framed:  H 13.50” x W 16.5”\u003cbr\u003e    Framed Price: $250.00  \u003cbr\u003e    Whiteglove packaging and shipping\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003cspan\u003e       approximately $25.00\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eThe \"father of American illustration\" created this scene as a binary (Black \u0026amp; White) oil on board. Photolithography was still a relatively new technology in 1890, but it appears the publisher used a version of it to reproduce Pyle's illustration in the May 1890 issue of its monthly magazine.\u003c\/p\u003e\n\u003cp\u003eIn this case, Harper \u0026amp; Brothers used a technique called “photography-on-the-block.” This picturesque name refers to a process in which a light is beamed through a photographic negative of the artist’s work. The features of the photographed image are projected onto an engraving block. The block that receives the projected image, wood or metal, has been treated with a light sensitive gel so the features of the projected image become fixed on the plate. The image transferred in this “photo-mechanical” process then becomes a template for an engraver who craves the template to duplicate the patterns in the photographed image.\u003c\/p\u003e\n\u003cp\u003eBy 1880, engravers had developed techniques which allowed them to duplicate the tonal values of the photographed images. A \"tonal engraving” could look like  the photographed image, but image quality was not consistent. Fixing these flaws required expensive touch-ups by engravers.\u003c\/p\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003e\u003cspan\u003eFrederick Ives presented an automated process that solved\u003c\/span\u003e these quality problems in the mid-1880s. He placed lined screens between the photographic negative and the print surface. The screen changed the projected image from a continuous field of lighter and darker areas into collections of (black) dots. By converting an image into fields of more and less dense black dots, it became possible to produce images whose black-dot fields graded from black into white. This process became known as “halftone imaging”.\u003c\/p\u003e\n\u003cp\u003eIf you were to lay a transparency of Pyle’s 1890 illustration over the original picture, which is in the collection of the Illustrated Gallery of Fort Washington, Pennsylvania, you would find that the two images are identical. This shows that the image printed in the magazine was photographic reproduction of Pyle's original work. If you study detailed sections of the image in the magazine, you will see that the tonal qualities of the original piece have been duplicated by carving the \"photograph on the block.\" \u003c\/p\u003e\n\u003cp\u003eWe know from this analysis that the illustration in the magazine is more than an interesting scene from an 18th century tavern in New York City. It is also a technological marvel that was produced with an image reproduction technique that was about to be replaced. Knowing this makes the illustration a little bit more interesting!\u003c\/p\u003e\n\u003c\/div\u003e","brand":"AntiqueIllustrationArt.com","offers":[{"title":"Default Title","offer_id":18249716662368,"sku":"","price":250.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0261\/8105\/products\/Reading_Room_HP_Harper_s_Mon-vol-80.849.jpg?v=1543796947"},{"product_id":"howard-pyle-chapter-header-for-king-arthur-and-his-knights-1903-beautifully-framed-antique","title":"Howard Pyle Chapter Header for \"King Arthur and His Knights\" (1903): beautifully framed antique","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cspan\u003e\u003cstrong\u003eChapter Header: Two Knights Jousting\u003cbr\u003e   \u003c\/strong\u003e    Illustration \u003c\/span\u003e\u003cspan\u003efor \u003cem\u003eThe Story of King Arthur\u003c\/em\u003e\u003c\/span\u003e\u003cspan\u003e\u003cem\u003e and his Knights\u003c\/em\u003e\u003c\/span\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e           by the Artist \u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e        New York. Charles Scribner's Sons. 1903.\u003cbr\u003e\u003cbr\u003eI\u003cstrong\u003eMAGE INFORMATION\u003cbr\u003e \u003c\/strong\u003e   Image Size: H 4.25” x W 6.625”\u003cbr\u003e    Matted \u0026amp; Framed:  H 10.25” x W 12.625”\u003cbr\u003e    Framed Price: $110.00  \u003cbr\u003e    Packaging and shipping\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e       approximately $25.00\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e.\u003cbr\u003e ​HP was a prolific illustrator of stories published in leading national magazines from 1878 until his death in 1911. He is not as well-known as a book illustrator, but during his career, he illustrated more than 150 books. More surprising, the bulk of his pictures were in books he wrote himself!\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp\u003e        HP launched this part his career with \u003cem\u003eThe Merry Adventures of Robin Hood\u003c\/em\u003e, which Scribner published in 1883. His greatest work was a four-volume set he produced between 1903 and 1910, which contained his illustrated interpretation of the Arthurian legend. No longer writing\/drawing for children, the mature author\/artist aimed to instruct young adults and adults in the lessons of life. That he appreciated the monumental nature of the project becomes clear in the comment he used to close book four. It reads in part:\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eAnd these books are four in number: first, there is the Book of King Arthur; then there is the Book of the Champions of the Round Table; then there is the Book of Sir Launcelot and his companions, and now there is this Book of the Grail and the Passing of Arthur, and this book is the last. For those books comprise a history of all this time ; for though there be many things left untold in them, yet those things are of small consequence.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e        Pyle decorated his books with a variety of antique graphics, including scrolls, ornamental floral patterns, and logo-like geometrical figures. Sometimes he placed header images at the beginning of chapters to add dramatic atmosphere to the part of the story it told. This scene is the header for Chapter 1 of \u003cem\u003eThe Story of King Arthur and his Knights\u003c\/em\u003e.\u003c\/p\u003e\n\u003cp\u003e        The artist captured the pageantry and violence of the tournament in which his two armored character met. His drafting skills are apparent in the detailed ways he portrayed the shock of their collision. The tangle of dark and light spaces and clashing lines hold the eye of the viewer.\u003c\/p\u003e\n\u003cp\u003e        Close inspection of the image’s shaded areas confirm that it was not produced with a halftone photomechanical process. It was probably etched using a “photography-on-the-block” reproduction method, which explains why this one-hundred and fifteen year-old image is to clear and bright.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"AntiqueIllustrationArt.com","offers":[{"title":"Default Title","offer_id":18253272776800,"sku":"","price":110.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0261\/8105\/products\/King_Arthur_HP_Jousting_Scribner_s_1903-9_11a65bbf-fa4d-4313-9ef5-f9bae18b281b.jpg?v=1544472843"},{"product_id":"howard-pyle-chapter-header-illustration-for-for-the-story-of-king-arthur-1903","title":"Howard Pyle chapter header illustration for \"The Story of King Arthur\" (1903): beautifully framed antique","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003cstrong\u003eTwo Knights Jousting\u003cbr\u003e   \u003c\/strong\u003e    Chapter Header \u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cspan\u003e       For \u003cem\u003eThe Story of King Arthur\u003c\/em\u003e\u003c\/span\u003e\u003cspan\u003e\u003cem\u003e and his Knights\u003c\/em\u003e\u003cbr\u003e           by Howard Pyle\u003cbr\u003e       New York. Charles Scribner's Sons. 1903.\u003cbr\u003e\u003cbr\u003eI\u003cstrong\u003eMAGE INFORMATION\u003cbr\u003e \u003c\/strong\u003e   Image Size: H 4.25” x W 6.75”\u003cbr\u003e    Matted \u0026amp; Framed:  H 10.25” x W 12.75”\u003cbr\u003e    Framed Price: $110.00  \u003cbr\u003e    Packaging and shipping\u003c\/span\u003e approximately $25.00\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp\u003eHP was a prolific illustrator of stories published in leading national magazines from 1878 until his death in 1911. He is not as well-known as a book illustrator, but during his career, he illustrated more than 150 books. More surprising, the bulk of his pictures were in books he wrote himself!\u003c\/p\u003e\n\u003cp\u003eHP launched this part his career with \u003cem\u003eThe Merry Adventures of Robin Hood\u003c\/em\u003e, which Scribner published in 1883. His greatest work was a four-volume set he produced between 1903 and 1910, which contained his illustrated interpretation of the Arthurian legend. No longer writing\/drawing for children, the mature author\/artist aimed to instruct young adults and adults in the lessons of life. That he appreciated the monumental nature of the project becomes clear in the comment he used to close book four. It reads in part:\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eAnd these books are four in number: first, there is the Book of King Arthur; then there is the Book of the Champions of the Round Table; then there is the Book of Sir Launcelot and his companions, and now there is this Book of the Grail and the Passing of Arthur, and this book is the last. For those books comprise a history of all this time ; for though there be many things left untold in them, yet those things are of small consequence.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003ePyle decorated his books with a variety of antique graphics, including scrolls, ornamental floral patterns, and logo-like geometrical figures. Sometimes he placed header images at the beginning of chapters to add dramatic atmosphere to the part of the story it told. This scene is the header for Chapter 1 of \u003cem\u003eThe Story of King Arthur and his Knights\u003c\/em\u003e.\u003c\/p\u003e\n\u003cp\u003eThe artist captured the pageantry and violence of the tournament in which his two armored characters met. His drafting skills are apparent in the detailed ways he portrayed the shock of their collision. The tangle of dark and light spaces and clashing lines hold the eye of the viewer.\u003c\/p\u003e\n\u003cp\u003eClose inspection of the image’s shaded areas show that it was not produced in a halftone photomechanical process. It was probably etched using a “photography -on-the-block” reproduction method, which explains why the image is still clear and bright 115 years later.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"AntiqueIllustrationArt.com","offers":[{"title":"Default Title","offer_id":18255948021856,"sku":"","price":110.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0261\/8105\/products\/King_Arthur_HP_Jousting_Scribner_s_1903-9.jpg?v=1543950880"},{"product_id":"n-c-wyeth-endpapers-for-rip-van-winkle-1921-beautifully-framed-antique","title":"N. C. Wyeth endpapers for Rip Van Winkle (1921): beautifully framed antique","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv\u003e\n\u003cspan\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003cspan\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003cstrong\u003eEndpaper Illustrations\u003cbr\u003e \u003c\/strong\u003e   For \u003cspan class=\"theme-text-color-2-4\"\u003e\u003cem\u003eRip Van Winkle b\u003c\/em\u003ey Washington Irving\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003cspan class=\"theme-text-color-2-4\"\u003e    Illustrations by N. C. Wyeth\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003cspan class=\"theme-text-color-2-4\"\u003e    Philadelphia. David McKay Company. 1921.\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cspan\u003e\u003cspan class=\"theme-text-color-2-4\"\u003e   \u003cbr\u003e\u003cstrong\u003eIMAGE INFORMATION​\u003c\/strong\u003e\u003cbr\u003e    Image Size: H 10.00” x W 7.50”\u003cbr\u003e    Matted \u0026amp; Framed:  H 17.00” x W 15.00”\u003cbr\u003e    Framed Price: $265.00\u003cbr\u003e    P\u003c\/span\u003e\u003c\/span\u003eackaging and shipping approximately $25.00\u003c\/div\u003e","brand":"AntiqueIllustrationArt.com","offers":[{"title":"Default Title","offer_id":18256496230496,"sku":"","price":265.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0261\/8105\/products\/113018_-_3.jpg?v=1543970189"},{"product_id":"howard-pyle-illustration-for-the-story-of-launcelot-1907-framed-original-illustration","title":"Howard Pyle illustration for \"The Story of Launcelot\" 1907: framed original illustration","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003cstrong\u003eLauncelot's Ladies: The Damsel Lynette\u003cbr\u003e   \u003c\/strong\u003e Head Piece \u003cbr\u003e    For \u003cem\u003eThe Story of Sir Launcelot and His       \u003c\/em\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cspan\u003e\u003cem\u003e           Companions \u003c\/em\u003eby the artist\u003cem\u003e\u003c\/em\u003e\u003cbr\u003e    New York. Charles Scribner's Sons. 1907.\u003cbr\u003e\u003cstrong\u003e\u003cbr\u003eIMAGE INFORMATION\u003cbr\u003e   \u003c\/strong\u003e Image Size: H 9.125” x W 6.625”\u003cbr\u003e    Matted \u0026amp; Framed:  H 15.125” x W 12.625”\u003cbr\u003e    Framed Price: $225.00  \u003cbr\u003e   \u003c\/span\u003e Packaging and shipping approximately $25.00\u003c\/div\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eHP wrote and illustrated his four-volume interpretation of the Arthurian legend between 1903 and 1910. In these four beautiful books, the master artist\/storyteller excerpted and expanded tales of King Arthur and the Knights of his Roundtable that Sir Thomas Malory had collected during the 15th century and William Caxton had published in 1485.\u003c\/p\u003e\n\u003cp\u003eHP retold these stories in \u003cem\u003eThe Book of King Arthur\u003c\/em\u003e (1903), \u003cem\u003eThe Book of the Champions of the Round Table\u003c\/em\u003e (1905), \u003cem\u003eThe Book of Sir Launcelot and his Companions\u003c\/em\u003e (1907), and \u003cem\u003eThe Book of the Grail and the Passing of Arthur\u003c\/em\u003e (1910).\u003c\/p\u003e\n\u003cp\u003eBeing a man of faith and purpose, and being at the height of his powers, Pyle undertook to share with young adults and adults the moral lessons he had learned in the course of his own life. In his concluding comment of his last book, he summarized them: “wit ye that no man can do better than [this] in this world: to bring aid to the afflicted; food to the hungry, and a release from trouble to those who are in anxiety.”\u003c\/p\u003e\n\u003cp\u003eThe greatest of Arthur’s knights was Sir Launcelot. HP devoted an entire book to him. By the time it was ready to publish, image reproduction had entered the Age of Color. Pyle wanted to preserve the decorative style that made his set’s first two volumes so wonderful. But he could not resist having some color in this third book. The concession he made to modern technology was to tint some of his decorative plates.\u003c\/p\u003e\n\u003cp\u003eThe “head pieces” he added to his third volume were line drawings with plain lines and few details. The enhancements the artist did include were equally spare, being a fold in garments, a flower, a necklace. Pyle colored these ornamental embellishments with heavier washes. In the images’ open spaces and flat fields, he lay pale monochromatic washes. These hints of color did not alter the austere moods the artist strove to convey, but they did add undercurrents of vitality to his glimpses into the long-ago.\u003c\/p\u003e\n\u003cp\u003eFour of the colored head pieces in this book are portraits of Launcelot’s ladies: the Lady Elaine the Fair, the Damsel Lynette, the Lady Layonesse, and the Lady of the Fountain.\u003c\/p\u003e","brand":"AntiqueIllustrationArt.com","offers":[{"title":"Default Title","offer_id":18257971413088,"sku":"","price":225.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0261\/8105\/products\/HP_Damsel_Lynette_1907.jpg?v=1544024722"},{"product_id":"howard-pyle-illustration-for-the-story-of-sir-launcelot-1907-framed-original-illustration","title":"Howard Pyle illustration for \"The Story of Sir Launcelot\" 1907: framed original illustration","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003cstrong\u003eLauncelot's Ladies: The Lady Layonesse\u003cbr\u003e   \u003c\/strong\u003e Head Piece \u003cbr\u003e    For \u003cem\u003eThe Story of Sir Launcelot and His       \u003c\/em\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003cem\u003e           Companions \u003c\/em\u003eby the artist\u003cem\u003e\u003c\/em\u003e\u003cbr\u003e    New York. Charles Scribner's Sons. 1907.\u003c\/span\u003e\u003c\/div\u003e\n\u003cp\u003e\u003cstrong\u003e\u003c\/strong\u003e \u003cbr\u003e \u003cstrong\u003eIMAGE INFORMATION\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e    Image Size: H 9.125” x W 6.625”\u003cbr\u003e     Matted \u0026amp; Framed:  H 15.125” x W 12.625”\u003cbr\u003e     Framed Price: $225.00  \u003cbr\u003e     Packaging and shipping approximately $25.00 \u003c\/p\u003e\n\u003cp\u003eHP wrote and illustrated his four-volume interpretation of the Arthurian legend between 1903 and 1910. In these four beautiful books, the master artist\/storyteller excerpted and expanded tales of King Arthur and the Knights of his Roundtable that Sir Thomas Malory had collected during the 15th century and William Caxton had published in 1485.\u003c\/p\u003e\n\u003cp\u003eHP retold these stories in \u003cem\u003eThe Book of King Arthur\u003c\/em\u003e (1903), \u003cem\u003eThe Book of the Champions of the Round Table\u003c\/em\u003e (1905), \u003cem\u003eThe Book of Sir Launcelot and his Companions\u003c\/em\u003e (1907), and \u003cem\u003eThe Book of the Grail and the Passing of Arthur\u003c\/em\u003e (1910).\u003c\/p\u003e\n\u003cp\u003eBeing a man of faith and purpose, and being at the height of his powers, Pyle undertook to share with young adults and adults the moral lessons he had learned in the course of his own life. In his concluding comment of his last book, he summarized them: “wit ye that no man can do better than [this] in this world: to bring aid to the afflicted; food to the hungry, and a release from trouble to those who are in anxiety.”\u003c\/p\u003e\n\u003cp\u003eThe greatest of Arthur’s knights was Sir Launcelot. HP devoted an entire book to him. By the time it was ready to publish, image reproduction had entered the Age of Color. Pyle wanted to preserve the decorative style that made his set’s first two volumes so wonderful. But he could not resist having some color in this third book. The concession he made to modern technology was to tint some of his decorative plates.\u003c\/p\u003e\n\u003cp\u003eThe “head pieces” he added to his third volume were line drawings with plain lines and few details. The enhancements the artist did include were equally spare, being a fold in garments, a flower, a necklace. Pyle colored these ornamental embellishments with heavier washes. In the images’ open spaces and flat fields, he lay pale monochromatic washes. These hints of color did not alter the austere moods the artist strove to convey, but they did add undercurrents of vitality to his glimpses into the long-ago.\u003c\/p\u003e\n\u003cp\u003eFour of the colored head pieces in this book are portraits of Launcelot’s ladies: the Lady Elaine the Fair, the Damsel Lynette, the Lady Layonesse, and the Lady of the Fountain.\u003c\/p\u003e","brand":"AntiqueIllustrationArt.com","offers":[{"title":"Default Title","offer_id":18257985634400,"sku":"","price":225.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0261\/8105\/products\/HP_Lady_Layonesse_1907.jpg?v=1544025509"},{"product_id":"howard-pyle-illustration-for-the-story-of-sir-launcelot-1907-framed-original-illustration-1","title":"Howard Pyle illustration for \"The Story of Sir Launcelot\" 1907: framed original illustration","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003cstrong\u003eLauncelot's Ladies: The Lady of the Fountain\u003cbr\u003e   \u003c\/strong\u003e Head Piece \u003cbr\u003e    For \u003cem\u003eThe Story of Sir Launcelot and His       \u003c\/em\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cspan\u003e\u003cem\u003e           Companions \u003c\/em\u003eby the artist\u003cem\u003e\u003c\/em\u003e\u003cbr\u003e    New York. Charles Scribner's Sons. 1907.\u003c\/span\u003e\u003cbr\u003e \u003cbr\u003e \u003cstrong\u003eIMAGE INFORMATION\u003c\/strong\u003e\n\u003c\/div\u003e\n\u003cp\u003e    Image Size: H 9.125” x W 6.625”\u003cbr\u003e     Matted \u0026amp; Framed:  H 15.125” x W 12.625”\u003cbr\u003e     Framed Price: $225.00  \u003cbr\u003e     Packaging and shipping approximately $25.00\u003c\/p\u003e\n\u003cp\u003eHP wrote and illustrated his four-volume interpretation of the Arthurian legend between 1903 and 1910. In these four beautiful books, the master artist\/storyteller excerpted and expanded tales of King Arthur and the Knights of his Roundtable that Sir Thomas Malory had collected during the 15th century and William Caxton had published in 1485.\u003c\/p\u003e\n\u003cp\u003eHP retold these stories in \u003cem\u003eThe Book of King Arthur\u003c\/em\u003e (1903), \u003cem\u003eThe Book of the Champions of the Round Table\u003c\/em\u003e (1905), \u003cem\u003eThe Book of Sir Launcelot and his Companions\u003c\/em\u003e (1907), and \u003cem\u003eThe Book of the Grail and the Passing of Arthur\u003c\/em\u003e (1910).\u003c\/p\u003e\n\u003cp\u003eBeing a man of faith and purpose, and being at the height of his powers, Pyle undertook to share with young adults and adults the moral lessons he had learned in the course of his own life. In his concluding comment of his last book, he summarized them: “wit ye that no man can do better than [this] in this world: to bring aid to the afflicted; food to the hungry, and a release from trouble to those who are in anxiety.”\u003c\/p\u003e\n\u003cp\u003eThe greatest of Arthur’s knights was Sir Launcelot. HP devoted an entire book to him. By the time it was ready to publish, image reproduction had entered the Age of Color. Pyle wanted to preserve the decorative style that made his set’s first two volumes so wonderful. But he could not resist having some color in this third book. The concession he made to modern technology was to tint some of his decorative plates.\u003c\/p\u003e\n\u003cp\u003eThe “head pieces” he added to his third volume were line drawings with plain lines and few details. The enhancements the artist did include were equally spare, being a fold in garments, a flower, a necklace. Pyle colored these ornamental embellishments with heavier washes. In the images’ open spaces and flat fields, he lay pale monochromatic washes. These hints of color did not alter the austere moods the artist strove to convey, but they did add undercurrents of vitality to his glimpses into the long-ago.\u003c\/p\u003e\n\u003cp\u003eFour of the colored head pieces in this book are portraits of Launcelot’s ladies: the Lady Elaine the Fair, the Damsel Lynette, the Lady Layonesse, and the Lady of the Fountain.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"AntiqueIllustrationArt.com","offers":[{"title":"Default Title","offer_id":18258009718880,"sku":"","price":225.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0261\/8105\/products\/HP_Lady_of_the_Fountain_1907-1.JPG?v=1544027694"}],"url":"https:\/\/www.commonwealthbooks.org\/collections\/antique-illustration-art\/art-by-n-c-wyeth.oembed","provider":"Commonwealth Book Publishers of Virginia","version":"1.0","type":"link"}