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Edward PenfieldHarpers Magazine "March Hare" Maitres de l'Affiche1894
1894
$450
£342.35
€400.31
CA$629.34
A$707
CHF 376.26
MX$8,742.30
NOK 4,584.72
SEK 4,432.77
DKK 2,985.92
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About the Item
PENFIELD, FERDINAND
(1866 - 1922)
Harper’s Magazine - March
Original lithograph from "Les Maitres de L'Affiche" series
Printed by Imprimerie Chaix, Paris
Bearing MDL stamp lower right, from issue #29, 1896. Plate #115
Unframed Size: 11 3/8 x 15 3/4”
The "Les Maitres de l'Affiche" series was offered as a subscription series to collectors every month for 60 months, from December 1895 through November 1900. The "Maitres de l'Affiche," were issued as separate numbered sheets, referred to as "plates". They were numbered, with the printers name "Imprimerie Chaix," in the margin at the bottom left hand corner, "PL.1" to "PL.240." In the margin at the bottom right hand corner of each, is a blind embossed stamp from a design of Cheret's. The smaller format and the fact the "Maitres" were a paid subscription series, allowed Imprimerie Chaix to use the latest state of the art printing techniques, not normally used in the large format posters due to cost. A very high quality of paper was used, where as the large format posters were printed on lesser quality newsprint, due to cost and a short expected life span. This explains why the quality of the printing, in the "Maitres de l'Affiche," usually far exceeds that of their larger counterparts.
"During his tenure as art director for Harper's (1893-99), Penfield created a new poster for every month's issue, yet never seemed to run out of fresh ideas. This is one of his most inspired. The woman holds two obviously pampered cats who rejoice at the attention; the woman, however, appears almost disconcerted, not quite sure where, or if, to put them down. The image has an extraordinary domestic charm and remains one of the most highly sought among collectors of American poster art" (Gold p.73) "Of this whole series, the May poster, of the girl with two Angora cats has, perhaps, the greatest and lasting charm. Its quaint originality and the absolute informality of its subject and the extraordinary simplicity of its treatment makes it a poster that one remembers for years after it has been put away " (C. Matlack Price, p.219, 220)
Edward Penfield was born 2 Jun 1866 a post-war ‘baby boomer’ in Brooklyn, New York to Ellen Lock Moore and Josiah B. Penfield. He received his elementary education in Brooklyn, was cared for by his mother, and sometimes studied at home. As he grew up, he decided to carry on in his uncle Henry’s footsteps — to be an artist. Penfield’s first published work appears in Harper’s Weekly, 1891. He started out on staff under the guidance of Frederick B. Schell, Horace Bradley and Arthur B. Turnure, cleaning up and inking field artists’ sketches, executing small spot illustrations from photos, and earning his craft under the strict weekly deadlines of the paper. His first signed work in the Monthly appears in an article by Dr John C. Van Dyke about the Art Students League, which appeared in the Month, 1891 issue of the Monthly Magazine. Horace Bradley had connections with the school, and promoted it as a source of fresh new talent. The young Penfield had been summoned by the Harpers to guide their publications toward the new age. He was to return to New York from Paris immediately to head up their art department in place of Frederick Schell. It was a position which included work not only for Harper & Brother’s book publishing, but also for the ‘Big Four’—their magazines Harper’s New Monthly Magazine, Harper’s Weekly, Harper’s Bazar and Harper’s Young People.
- Creator:Edward Penfield (1866 - 1925, American)
- Creation Year:1894
- Dimensions:Height: 17.5 in (44.45 cm)Width: 14.5 in (36.83 cm)Depth: 0.5 in (1.27 cm)
- More Editions & Sizes:Edition unknownPrice: $450
- Medium:
- Movement & Style:
- Period:
- Condition:This piece is in a brand new custom frame.
- Gallery Location:Hinsdale, IL
- Reference Number:Seller: 1722 or 16271stDibs: LU138426715242
Edward Penfield
One of the best of our native talents, Penfield is well-known for the decade 1891-1901, during which he was the art director of Harper's. For five of the ten years he produced posters for each month's issue of the then-popular magazine. His drawings are deceptively simple, with flat color and clear lines, but they always manage to convey class and refinement. And there's quite often a gentle touch of humor or irony, refreshing and frivolous. Penfield's posters are models of effective composition and economy of expression (Jack Rennert, PAI-XXVII, 555) When his tenure at Harper's came to an end, Penfield was free to travel, and his experiences are preserved in two books published by Scribner's, Holland Sketches (1907) and Spanish Sketches (1911), in which his graphic sense blossomed in a wealth of detail. The critic Royal Cortissoz commented: "When he made [these], he entered thoroughly into the spirit of his themes and did some of his best work... He was never the technical virtuoso alone. Humanity was always breaking into his world." - Frederic B. Taraba "We are a bit tired of the very serious nowadays, and a little frivolity is refreshing, and yet frivolity to be successful must be most thoroughly studied." So wrote EDWARD PENFIELD near the outset of his highly influential career as an illustrator, art editor, and poster artist, a career guided by keen observation, a cosmopolitan sensibility, and simplicity that belied his meticulously crafted efforts. In looking at the work of Penfield today, we find less of what strikes us as frivolous and more of a keen sense of design and composition. The Art Center Bulletin of April 1925 remembered his contribution to illustrative art this way: "To everything he produced Penfield brought his great gifts of design and draftsmanship, a wonderful sincerity that never faltered, and a beautiful humbleness of spirit." As early as 1894, just a year and a half after Penfield began a series of monthly images for Harper's , his work was heralded by Publisher's Weekly: "The advertising poster has within recent years actually soared into the regions of art." Penfield is also credited with bringing abstraction to commercial art through his boldly simplified shapes. This and other stylistic trademarks resulted from a distillation of a number of influences, including the compositional precepts and casual poses found in Japanese prints, the hand-craftsmanship of the Arts and Crafts movement, the impressionistic approach of Parisian poster-making, and British poise and directness.
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