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Jessie Willcox Smith"The Story Hour" Illustration for Harper
s Bazar1910
1910
$192,500
£145,800.87
€167,447.28
CA$269,755.45
A$293,278.57
CHF 155,496.63
MX$3,515,666.39
NOK 1,976,282.39
SEK 1,810,543.35
DKK 1,251,456.36
About the Item
This large oil painting depicting a sweet moment of maternal bonding was published as an interior illustration for Harper’s Bazar in May 1910. Jessie Willcox Smith gained renown for her nuanced portrayals of children in the early 20th century. Her work for magazines like McClure's, Harper’s Bazar, and Good Housekeeping showcased her ability to depict childhood innocence and familial themes with a soft realism, contributing significantly to the identity of these publications.
Artwork Dimensions: 20.25" x 30"
Framed Dimensions: 28.25" x 38"
Medium: Oil on Board
Signature: Signed Lower Left
- Creator:Jessie Willcox Smith (1863 - 1935, American)
- Creation Year:1910
- Dimensions:Height: 20.25 in (51.44 cm)Width: 30 in (76.2 cm)
- Medium:
- Period:
- Condition:
- Gallery Location:Fort Washington, PA
- Reference Number:Seller: 47401stDibs: LU384315187082
Jessie Willcox Smith
But success as an illustrator wasn't immediate. She got a job in the production department of The Ladies Home Journal in 1889 and was still working there five years later when Howard Pyle began teaching illustration at Drexel Institute of Arts and Sciences. Smith was accepted as a pupil in his first class. At 31, she was only 10 years younger than her teacher and one of his oldest students. Elizabeth Shippen Green and Violet Oakley soon joined her in the class, and the three became lifelong friends. Smith's first commission through Pyle was for an 1897 edition of Evangeline that she illustrated with Oakley. The two joined another Pyle student to rent a studio, and Green later joined them there. In 1901, the three shared the lease on an old inn outside of Philadelphia. That's the same year as the illustration above from "The Last of the Fairy Wands" in the December issue of Scribners Magazine. She produced two calendars with Green for 1902 that helped establish the careers of both women. The most important was "The Child," which showcased some of her most sensitive renditions of children to date. The images were collected into a book the following year. One of Smith's three images from that book is above at right. The magazines and books of the day voraciously consumed as much color work as possible. Pyle's students were some of the best-prepared new entrants into the illustration market, and Pyle's name gave them access to the magazines' pages.
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