PLEASE SEE PHOTO FOR DETAILS AND CONDITION OF THIS NEW POSTER
SIZE OF POSTER PRINT - 12 X 18 INCHES
DATE OF ORIGINAL PRINT, POSTER OR ADVERT - 1911
At PosterPrint Shop we look for rare & unusual ITEMS OF commercial graphics from throughout the world.
The PosterPrints are printed on high quality 48 # acid free PREMIUM GLOSSY PHOTO PAPER (to insure high depth ink holding and wrinkle free product)
Most of the PosterPrints have APPROX 1/4" border MARGINS for framing, to use in framing without matting.
MOST POSTERPRINTS HAVE IMAGE SIZE OF 11.5 X 17.5.
As decorative art these PosterPrints give you - the buyer - an opportunity to purchase and enjoy fine graphics (which in most cases are rare in original form) in a size and price range to fit most all.
As graphic collectors ourselves, we take great pride in doing the best job we can to preserve and extend the wonderful historic graphics of the past.
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DESCRIPTION OF ITEM: additional information:
ARTIST: Franklin Booth (July 8, 1874 – August 25, 1948) was an American artist known for his detailed pen-and-ink illustrations. He had a unique illustration style based upon his early recreation of wood engraving illustrations with pen and ink. His skill as a draftsman and style made him a popular magazine illustrator in the early 20th-century. He was one of the first modern ex libris designers in the United States.
Using watercolor, Booth created book illustrations, such as James Whitcomb Riley's The Flying Islands of the Night. During World War I, he created posters for recruitment, fundraising, and other efforts. As Art Deco style illustrations became popular, his work in latter years was found in commercial publications and catalogs. Although he "believe[d] in schools to a certain extent" at one point in his career, he co-founded the Phoenix Art Institute and was an educator for 21 years. He was inducted into the Society of Illustrators Hall of Fame.
Early life and education
Jay Franklin Booth was born in 1874 and raised on a farm near Carmel, Indiana. His parents, Susan Wright and John Thomas Booth, had eight children. Booth, the third child, attended the Quaker Academy at Westfield.
As a boy, he was determined to become an artist. He studied pictures in books and magazines, including Scribner's and Harper's. His unusual technique was the result of his having scrupulously copied magazine illustrations which he thought were pen-and-ink drawings, but were, in fact, wood engravings. As a result, this led him to developing a style of drawing composed of thousands of lines, whose careful positioning next to one another produced variations in density and shade. The characteristics of his art were his scale extremes with large buildings and forests looming over tiny figures, decorative scrolls and borders, classic hand lettering and gnarled trees.
He expressed his view of formal education, "I believe in schools to a certain extent, yet I think a knowledge of art is not a thing held in trust by any, but is, rather, universal and comes to them who hunger and thirst after it." He took a correspondence course in art while he lived in Indiana, and studied for three months each at the School of the Art Institute of Chicago and the Art Students League of New York.
Career
His skilled draftsmanship and unique style made him a popular illustrator. He was considered "the best pen-and-ink man in America" by an editor of a leading magazine. Despite the laboriousness of his technique, Booth's compositions were characterised by a grand sense of space. As a result, his drawings were often well-matched to poetic or editorial entries. With the advent of the "clean, smooth, and continuous lines" of the Art Deco style illustrations, his works in latter years were found in commercial publications and catalogs.
Booth's first illustrations, created for his verses, appeared in the Indianapolis News, and he was on the staff there from 1899 to 1904. He then traveled to Rome, Paris and Spain. Beginning in 1904 or 1905, he worked on the New York Daily News. He also worked briefly at newspapers in Boston and Washington as an illustrator. Creator of the Nicholson plate, engraved in copper, he was one of the first modern ex libris designers in the United States. He created a gift bookplate for the Indiana State Library.
Booth's illustrations appeared in popular magazines, like Scribner's, Good Housekeeping, Collier's, Harper's Magazine, and The Saturday Evening Post. He illustrated James Oppenheim's short stories for American magazine by 1914.
Booth created advertising art for organizations, such as Rolls-Royce, Whitman's Candy, Bulova Watches, General Electric, Procter & Gamble, Paramount Pictures, and Estey Organ. He also created illustrations for several Victor-Victrola record covers.
Booth contributed to World War I by illustrating recruitment posters, US savings bonds envelopes, booklets and death certificates for American soldiers who perished in France and Belgium, and work for the Red Cross.
He illustrated books like James Whitcomb Riley's The Flying Islands of the Night (1913), which included multiple plates of his watercolor images. "It includes Booth's open compositions and attention to classical forms, with skies filled with soft quiet washes of hues in place of fields of tone." The book, A Hoosier Holiday (1916), chronicled the two-week automobile trip that Booth took with Theodore Dreiser from New York to Terre Haute, Indiana, Riley's hometown. It included 30 or 32 charcoal sketches of cities, small towns, and rural settings that Booth made along their voyage in Booth's Pathfinder touring car. It was the first book about travel via automobile. He illustrated Mark Twain's The Prince and the Pauper (1917); Meredith Nicholson's The Poet, And Five-Foot Book Shelf, one of the Harvard Classics editions.
In 1925, he co-founded the Phoenix Art Institute and was an educator there for 21 years. An edition of his work, "Sixty Reproductions from Original Drawings", was published in 1925 by Robert Frank. In 1934 and 1935, he wrote a series of articles about the art of illustration for the Professional Art Quarterly.
Other contributions include illustrating the annual Telephone Almanac by 1940. "A Continent Is Bridged", an illustration by Franklin Booth, was drawn for the Atlantic Telephone & Telegraph Company for the observance of the twenty-fifth anniversary of transcontinental telephone service in 1940.
He created illustrations—like of a black-eyed susan and box turtle—for several stamps for a 1941 wildlife conservation series by the National Wildlife Federation. During his career, he helped develop a process of permanent reproduction of line design on titles and aluminum with the Reynolds Metals Company.
William H. Block Company sold a number of his drawings in 1946. In 1947, the book 20 Franklin Booth Masterpieces was published. He was a member of the Guild Freelance Artists and the Society of Illustrators.
Art Nouveau (/???rt nu?'vo?, ???r/; French: [a? nuvo]) is an international style of art, architecture, and applied art, especially the decorative arts. The style is known by different names in different languages: Jugendstil in German, Stile Liberty in Italian, Modernisme in Catalan, and also known as the Modern Style in English. It was popular between 1890 and 1910 during the Belle Époque period, and was a reaction against the academic art, eclecticism and historicism of 19th century architecture and decoration. It was often inspired by natural forms such as the sinuous curves of plants and flowers. Other characteristics of Art Nouveau were a sense of dynamism and movement, often given by asymmetry or whiplash lines, and the use of modern materials, particularly iron, glass, ceramics and later concrete, to create unusual forms and larger open spaces.
One major objective of Art Nouveau was to break down the traditional distinction between fine arts (especially painting and sculpture) and applied arts. It was most widely used in interior design, graphic arts, furniture, glass art, textiles, ceramics, jewellery and metal work. The style responded to leading 19-century theoreticians, such as French architect Eugène-Emmanuel Viollet-le-Duc (1814–1879) and British art critic John Ruskin (1819–1900). In Britain, it was influenced by William Morris and the Arts and Crafts movement. German architects and designers sought a spiritually uplifting Gesamtkunstwerk ("total work of art") that would unify the architecture, furnishings, and art in the interior in a common style, to uplift and inspire the residents.
The first Art Nouveau houses and interior decoration appeared in Brussels in the 1890s, in the architecture and interior design of houses designed by Paul Hankar, Henry van de Velde, and especially Victor Horta, whose Hôtel Tassel was completed in 1893. It moved quickly to Paris, where it was adapted by Hector Guimard, who saw Horta's work in Brussels and applied the style for the entrances of the new Paris Métro. It reached its peak at the 1900 Paris International Exposition, which introduced the Art Nouveau work of artists such as Louis Tiffany. It appeared in graphic arts in the posters of Alphonse Mucha, and the glassware of René Lalique and Émile Gallé.
From Belgium and France, Art Nouveau spread to the rest of Europe, taking on different names and characteristics in each country (see Naming section below). It often appeared not only in capitals, but also in rapidly growing cities that wanted to establish artistic identities (Turin and Palermo in Italy; Glasgow in Scotland; Munich and Darmstadt in Germany), as well as in centres of independence movements (Helsinki in Finland, then part of the Russian Empire; Barcelona in Catalonia, Spain).
By 1914, and with the beginning of the First World War, Art Nouveau was largely exhausted. In the 1920s, it was replaced as the dominant architectural and decorative art style by Art Deco and then Modernism. The Art Nouveau style began to receive more positive attention from critics in the late 1960s, with a major exhibition of the work of Hector Guimard at the Museum of Modern Art in 1970.
The graphic arts flourished in the Art Nouveau period, thanks to new technologies of printing, particularly colour lithography, which allowed the mass production of colour posters. Art was no longer confined to galleries, museums and salons; it could be found on Paris walls, and in illustrated art magazines, which circulated throughout Europe and to the United States. The most popular theme of Art Nouveau posters was women; women symbolizing glamour, modernity and beauty, often surrounded by flowers.
In Britain, the leading graphic artist in the Art Nouveau style was Aubrey Beardsley (1872–1898). He began with engraved book illustrations for Le Morte d'Arthur, then black and white illustrations for Salome by Oscar Wilde (1893), which brought him fame. In the same year, he began engraving illustrations and posters for the art magazine The Studio, which helped publicize European artists such as Fernand Khnopff in Britain. The curving lines and intricate floral patterns attracted as much attention as the text.
The Swiss-French artist Eugène Grasset (1845–1917) was one of the first creators of French Art Nouveau posters. He helped decorate the famous cabaret Le Chat noir in 1885 and made his first posters for the Fêtes de Paris. He made a celebrated poster of Sarah Bernhardt in 1890, and a wide variety of book illustrations. The artist-designers Jules Chéret, Georges de Feure and the painter Henri de Toulouse-Lautrec all made posters for Paris theaters, cafés, dance halls cabarets. The Czech artist Alphonse Mucha (1860–1939) arrived in Paris in 1888, and in 1895 made a poster for actress Sarah Bernhardt in the play Gismonda by Victorien Sardou. The success of this poster led to a contract to produce posters for six more plays by Bernhardt. Over the next four years, he also designed sets, costumes, and even jewellery for the actress. Based on the success of his theater posters, Mucha made posters for a variety of products, ranging from cigarettes and soap to beer biscuits, all featuring an idealized female figure with an hourglass figure. He went on to design products, from jewellery to biscuit boxes, in his distinctive style.
In Vienna, the most prolific designer of graphics and posters was Koloman Moser (1868–1918), who actively participated in the Secession movement with Gustav Klimt and Josef Hoffmann, and made illustrations and covers for the magazine of the movement, Ver Sacrum, as well as paintings, furniture and decoration.
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