Description: 1912 WOMEN FASHION SARAH BERNHARDT DESIGNER FRANKLIN BOOTH ART DECOR PRINT 33768 DATE OF THIS ** ORIGINAL ** ITEM: 1912THIS ITEM IS A ONE-PAGE PRINT FROM AN ORIGINAL PERIODICAL. THERE IS ONE PHOTO, SO PLEASE LOOK OVER CAREFULLY FOR SIZE AND CONDITION! NOTE: SOME PHOTOS MAY HAVE A BLACK BOX COVERING UP THE NAME OF THE PERIODICAL - IT IS ONLY LAYING ON TOP OF THE ITEM - NOT PERMANENT. ILLUSTRATOR / ARTIST: Franklin Booth (July 18, 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. Jay Franklin Booth was born in 1874 and raised on a farm near Carmel, Indiana.[1][2] 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. 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. OTHER INFO OF CONCERN FOR THIS LISTING - SPECIAL CHARACTERISTICS AND DESCRIPTIVE WORDS: Sarah Bernhardt born Henriette-Rosine Bernard; 22 October 1844 – 26 March 1923) was a French stage actress who starred in some of the most popular French plays of the late 19th and early 20th centuries, including La Dame aux Camélias by Alexandre Dumas fils, Ruy Blas by Victor Hugo, Fédora and La Tosca by Victorien Sardou, and L'Aiglon by Edmond Rostand. She also played male roles, including Shakespeare's Hamlet. Rostand called her "the queen of the pose and the princess of the gesture", and Hugo praised her "golden voice". She made several theatrical tours around the world, and she was one of the early prominent actresses to make sound recordings and to act in motion pictures. She is also linked with the success of artist Alphonse Mucha, whose work she helped to publicize. Mucha became one of the more sought-after artists of this period for his Art Nouveau style. Henriette-Rosine Bernard was born at 5 rue de L'École-de-Médecine in the Latin Quarter of Paris on 22 October 1844 She was the daughter of Judith Bernard (also known as Julie and in France as Youle), a Dutch Jewish courtesan with a wealthy or upper-class clientele. The name of her father was not recorded for a long time, but he is known now to have been an attorney in Le Havre.[7] Bernhardt later wrote that her father's family paid for her education, insisted she be baptised as a Catholic, and left a large sum to be paid when she came of age. Her mother travelled frequently, and saw little of her daughter. She placed Bernhardt with a nurse in Brittany, then in a cottage in the Paris suburb of Neuilly-sur-Seine. When Bernhardt was seven, her mother sent her to a boarding school for young ladies in the Paris suburb of Auteuil, paid with funds from her father's family. There, she acted in her first theatrical performance in the play Clothilde, where she held the role of the Queen of the Fairies, and performed her first of many dramatic death scenes. While she was in the boarding school, her mother rose to the top ranks of Parisian courtesans, consorting with politicians, bankers, generals, and writers. Her patrons and friends included Charles de Morny, Duke of Morny, the half-brother of Emperor Napoleon III and President of the French legislature. At the age of 10, with the sponsorship of Morny, Bernhardt was admitted to Grandchamp, an exclusive Augustine convent school near Versailles. At the convent, she performed the part of the Archangel Raphael in a story based on the book of Tobit. She declared her intention to become a nun, but did not always follow convent rules; she was accused of sacrilege when she arranged a Christian burial, with a procession and ceremony, for her pet lizard. She received her first communion as a Roman Catholic in 1856, and thereafter she was fervently religious. However, she never forgot her Jewish heritage. When asked years later by a reporter if she were a Christian, she replied: "No, I'm a Roman Catholic, and a member of the great Jewish race. I'm waiting until Christians become better." That contrasted her answer, "No, never. I'm an atheist" to an earlier question by composer and compatriot Charles Gounod if she ever prayed. Regardless, she accepted the last rites shortly before her death. In 1857, Bernhardt learned that her father had died overseas. Her mother summoned a family council, including Morny, to decide what to do with her. Morny proposed that Bernhardt should become an actress, an idea that horrified Bernhardt, as she had never been inside a theatre. Morny arranged for her to attend her first theatre performance at the Comédie Française in a party which included her mother, Morny, and his friend Alexandre Dumas père. The play they attended was Britannicus, by Jean Racine, followed by the classical comedy Amphitryon by Plautus. Bernhardt was so moved by the emotion of the play, she began to sob loudly, disturbing the rest of the audience. Morny and others in their party were angry at her and left, but Dumas comforted her, and later told Morny that he believed that she was destined for the stage. After the performance, Dumas called her "my little star". Morny used his influence with the composer Daniel Auber, the head of the Paris Conservatory, to arrange for Bernhardt to audition. She began preparing, as she described it in her memoirs, "with that vivid exaggeration with which I embrace any new enterprise." Dumas coached her. The jury was composed of Auber and five leading actors and actresses from the Comédie Française. She was supposed to recite verses from Racine, but no one had told her that she needed someone to give her cues as she recited. Bernhardt told the jury she would instead recite the fable of the Two Pigeons by La Fontaine. The jurors were skeptical, but the fervor and pathos of her recitation won them over, and she was invited to become a student. ADVERT SIZE: SEE RULER SIDES IN PHOTO FOR DIMENSIONS ( ALL DIMENSIONS IN INCHES) **For multiple purchases please ASK FOR + wait for our combined invoice. Shipping discount are ONLY available with this method. Thank You. At BRANCHWATER BOOKS we look for rare & unusual ADVERTISING, COVERS + PRINTS of commercial graphics from throughout the world. Our AD's and COVER'S are ORIGINAL and 100% guaranteed --- (we code all our items to insure authenticity) ---- we stand behind this. 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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