The Complete Harper’s Posters, 1893-1899

[Poster for Harper’s New Monthly Magazine, Jan 1896]. Portrait of George Washington. Four-color lithograph: grey, yellow, red and blue. New York: Harper & Brothers, published Dec 1895. Unsigned. 11 3/8" w. x 17 7/8" h.

Woodrow Wilson, yet 17 years from being known as America’s 28th President, was at this time a well-respected author, scholar, historian and Princeton educator (from 1902 to 1910, he would serve as president of Princeton University). Harpers advertised that “Professor Wilson will in this series present a new interpretation of that period which was at once the fruition of the English colonial culture of America and the beginning of a new nation.”

The series was illustrated by Howard Pyle, who was requested by Wilson. “Professor Woodrow Wilson is preparing for our magazine six papers on George Washington. His first paper, treating the Virginia of Washington’s time (in early childhood), is nearly ready. It is to appear in our January number. The author thinks these papers will furnish subjects for some very effective illustrations, and has suggested his preference for your treatment of such subjects. We also would be pleased if you could and would undertake the matter—can you?” wrote Henry Mills Alden, the Monthly’s editor, to Howard Pyle on 20 Aug 1895. “You would need to go to Princeton at once to get from Professor Wilson your motifs for the first paper...”

Pyle conferred with Wilson as to every detail, making his pictures as historically accurate as he might. Wilson wrote Pyle, commending him upon his ‘especially delightful’ illustrations for the first article. He had just seen proofs of the illustrations and wanted a set from Harpers, “for I shall certainly want to frame some; all, indeed, that I can find room for.” The series ran through Nov 1896 and proved to be an immense success for the Harpers, Wilson, and Pyle as well, “many magazines were begging Howard Pyle to do similar subjects for them.” It was published in book-form for the Christmas season that year.

Woodrow Wilson, George Washington (New York: Harper & Brothers, 1896).

Ref: PAFA, 514; Richmond, 192; Reims, 1269; Flood, 306; Studio, pg 125; DFP, 352, Keay, 81; Hawkes, pg 7; Lauder, 176; PAI-16, 418a; Brandt, 65; PAI-34, 109.

[Poster for Harper’s New Monthly Magazine, Feb 1896]. Couple walking, man with ice skates in hand, woman with muffler. Four-color lithograph: yellow, red, blue and black. New York: Harper & Brothers, published Jan 1896. Signed bottom left: EDWARD PENFIELD. 10 7/8" w. x 19 3/4" h.

Ref: Richmond, 193; Reims, 1270; DFP, 353; Hawkes, 2; Lauder, 177; PAI-10, 356; PAI-34, 110.

[Poster for Harper’s New Monthly Magazine, Mar 1896]. Woman in front of screen and Japanese masks. Four-color lithograph: brown, yellow, red and blue. New York: Harper & Brothers, published Feb 1896. Signed top left: EDWARD PENFIELD. 11" w. x 18 1/2" h.

Ref: Richmond, 195; Reims, 1271; Flood, 256; DFP, 354; Hawkes, pg 7; PAI-1I, 86b; Lauder, 178; PAI-34, 111.

[Poster for Harper’s New Monthly Magazine, Apr 1896]. Couple, man with umbrella. Five-color lithograph: grey, yellow, orange, green and black. New York: Harper & Brothers, published Mar 1896. Inscribed middle left: bull’s head logo. 13 3/8" w. x 18 1/8" h.

With the first appearance of Penfield's bull's-head logo on the April Harper's poster, Edward Penfield's ‘Lautrec’ period began in earnest. His new monogram (right) was inspired by those of Steinlen (left) and Lautrec (middle).

Ref: Richmond, 196; Reims, 1272; Flood, 308; DFP, 355; Margolin, pg 67; Lauder, 179; PAI-9, 440; PAI-27, 556; PCI-5, 7; PAI-33, 556; PAI-34, 112.

[Poster for Harper’s New Monthly Magazine, May 1896]. Woman in flowered dress holding two cats. Four-color lithograph: grey, yellow, vermilion and black. New York: Harper & Brothers, published Apr 1896. Signed bottom right: EDWARD PENFIELD. 12" w. x 17 3/4" h.

“Of this whole (Harper’s) series, the May poster, of the girl with the two Angora cats has, perhaps, the greatest and most lasting charm,” wrote author Charles Matlack Price in 1913. “Its quaint originality and the absolute informality of its subject and the extraordinary simplicity of its treatment make it a poster that one remembers for years after it has been put away.”

Ref: Richmond, 197; Reims, 1273; Flood, 309; DFP, 356; Wong, 62; Margolin, pg 67; Hawkes, pg 7; Gibson, 3; PAI-2, 87; Lauder, 180; PAI-5, 268; PCI-5, 5; PAI-34, 113.

[o.p.f. Harper & Brothers, May 1896, A 38]. Color lithographic reproduction. Signed in image bottom right: EDWARD PENFIELD. Image: ?" w. x ?" h. Sheet: 11 1/4" w. x 15 1/2" h.

Les maitres de l’affiche, issue 29, plate 115 (Paris: Imprimerie Chaix, Apr 1898).

Ref: Maitres, 115.

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[Poster for Harper’s New Monthly Magazine, Jun 1896]. Woman in green rocker, reading. Five-color lithograph: grey, yellow, green, red and black. New York: Harper & Brothers, published May 1896. Signed top left: EDWARD PENFIELD. 13 7/8" w. x 18 3/4" h.

Penfield acknowledged Lautrec’s influence upon his art, and when you compare his American version to its French counterpart, the influences are quite evident — if alarmingly so. Henri Toulouse-Lautrec’s poster of the same year for the International Poster Exhibition at the Salon des Cent seems to have been his source for what turned out to be one of Penfield’s most popular posters.

“The model lounging on the deck is an elusive woman whom Lautrec fleetingly glimpsed aboard a ship, bound from Le Havre to Bordeaux; he pursued her to Portugal where he gave up the chase.”

“Lautrec executed one of his most beautiful lithographs, in which the passenger from Cabin 54 sits, book in hand, lost in reverie on the bridge of the liner, her face, shaded by a parasol, turned towards the ocean, a little straw boater perched on her coiled red hair, an image of elegance, beauty, relaxation, and contentment.”

The subject was perfect for Penfield’s own sensibilities, and he adapted it to the Harper’s standard.

Ref: Richmond, 198; Reims, 1274; Flood, 310; DFP, 357; Wong, 63; Keay, 82; Hawkes, pg 7; Lauder, 181; PAI-15, 464; Brandt, 66; PAI-34, 114.

 
Lautrec’s Salon des Cent poster (left), compared with Penfield’s Harper’s June (right).

[Poster for Harper’s New Monthly Magazine, Jul 1896]. Woman in blue dress, holding red umbrella. Three-color lithograph: light green, red and blue. New York: Harper & Brothers, published Jun 1896. Inscribed lower right: bull’s head logo. 13 7/8" w. x 18 3/4" h.

Color variation: light green background.

Ref: Reims, 1275; Flood, 311; DFP, 358; Keay, 83; Gibson, 10; Lauder, 182; PAI-33, 496; PAI-34, 115.

[Poster for Harper’s New Monthly Magazine, Jul 1896]. Woman in blue dress, holding red umbrella. Three-color lithograph: yellow, red and blue. New York: Harper & Brothers, published Jun 1896. Inscribed lower right: bull’s head logo. 13 7/8" w. x 18 3/4" h.

Color variation: yellow background.

Ref:

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[Poster for Harper’s New Monthly Magazine, Aug 1896]. Bored couple, man in bathing suit. Four-color lithograph: grey, yellow, red and black. New York: Harper & Brothers, published Jul 1896. Signed lower left: bull’s head logo | EDWARD | PENFIELD. 13 3/4" w. x 18 7/8" h.

Is she pouting because she's forgotten her copy of Harper’s? Maybe so. This woman bears a striking resemblance to that in the Aug 1894 poster.

Ref: Reims, 1276; Flood, 312; DFP, 359; Exman, 177; Gibson, pg 26; Lauder, 183; PAI-20, 371; PCI-5, 1; PAI-34, 116.

[o.p.f. Harper & Brothers, Aug 1896, A 41]. Color lithographic reproduction. Signed in image, lower left: bull’s head logo | EDWARD | PENFIELD. xxx" w. x xxx" h.

Ref: Jean Louis Sponsel, Das moderne plakat (Dresden: Gerhard Kühtmann, 1897).

[Poster for Harper’s New Monthly Magazine, Sep 1896]. Woman holding magazine. Four-color lithograph: red, yellow, blue and green. New York: Harper & Brothers, published Aug 1896. Inscribed lower right: bull’s head logo. 18 3/8" w. x 13 3/4" h.

Color variation: red dress, red crachis background, blue and yellow hat.

Ref: Reims, 1277; Flood, 313; DFP, 360; Wong, 64; Gibson, 7; Lauder, 84; Brandt, 67; PAI-34, 117.

[Poster for Harper’s New Monthly Magazine, Sep 1896]. Woman holding magazine. Four-olor lithograph: grey, yellow, blue and green. New York: Harper & Brothers, published Aug 1896. Inscribed lower right: bull’s head logo. 17 1/2" w. x 13 3/8" h.

Color variation: grey dress, grey crachis background, blue and yellow hat.

NOTE: This may not be an actual color variation, but a sun-faded copy of A 42 (red inks fade first from UV rays). Examination of originals necessary to verify. Do you know about this item? Submit your information here.

Ref: PAI-15, 423; PAI-30, 206.

[Poster for Harper’s New Monthly Magazine, Oct 1896]. Woman in green holding gloves. Five-color lithograph: purple, green, yellow, red and blue. New York: Harper & Brothers, published Sep 1896. Signed bottom left: EDWARD PENFIELD. 13 7/8" w. x 18 3/4 " h.

Ref: DFP, 361; Wong, 65; Lauder, 185; PAI-9, 444; PAI-11, 342; PAI-12, 362; PAI-19, 461; PAI-28, 482; PCI-5, 6, PAI-34, 118.

[Poster for Harper’s New Monthly Magazine, Nov 1896]. Contemplative man in hansom cab. Four-color lithograph: green, yellow, red and black. New York: Harper & Brothers, published Oct 1896. Signed top right: bull’s head logo | EDWARD | PENFIELD. 13 5/8" w. x 18 1/8" h.

Ref: Flood, 315; DFP, 362; Wong, 67; Margolin, 68; Hawkes, pg 8; PAI-3, 379; Lauder, 186; PAI-7, 274; PAI-9, 445; PAI-11, 343; Brandt, 68; PAI-20, 372; PAI-21, 371; PAI-27, 484; PAI-32, 48; PAI-34, 119.

[Poster for Harper’s New Monthly Magazine, Dec 1896]. Woman with muffler walking, window shopping. Four-color lithograph: green, yellow, ed and black. New York: Harper & Brothers, published Nov 1896. Signed upper right: EDWARD | PENFIELD | bull’s head logo. 12 7/8" w. x 17 1/8" h.

Ref: Flood, 265; DFP, 363; Hawkes, pg 7; Lauder, 186; PAI-28, 485; PAI-34, 120.

Compare Penfield's July (left) and December (right) Harper's posters with Lautrec's 1895 poster for the artistic publication La Revue Blanche. Lautrec's poster features a portrait of Misia Natanson, wife of the French publication's founder, ice skating. If Lautrec could depict an ice skater without showing her skates, then Penfield would show an American woman window shopping — without an escort.