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A - ARTISTS
Louise Abbéma 1853-1927
This painter, printmaker, muralist, and sculptor was also an art critic for La Gazzette des Beaux Arts and L’Art. Women in naturalistic and aligorical form seem to be her primary subject mater. There are postcards that reproduce her paintings as well as images that she seems to have specifically drawn for them.
Jack Abeillé 1873-unknown
Abeillé was an illustrator and cartoonist working in pen & watercolor who created posters and did much work for French humor magazines and newspapers. By 1898 he turned his attention to illustrating postcards producing work in series; The Seasons, Bathers (seaside), Times of Day, Hairstyles through the Centuries, Chaperon rouge, flowers, the Paris Exposition of 1900, views of Paris and Monaco, and anti-German propaganda.
Cecil Charles Windsor Aldin 1870-1935
Aldin was a illustrator primarily working in watercolor and drawings who began to do work for newspapers and magazines in 1890. He became well known for his depictions of animals and fox hunting scenes. Aldin also produced illustrations for the postcards of Raphael Tuck & Sons, plus advertising cards for Cadbury’s Cocoa, and Colman’s Starch
Josefine Allmayer 1904-1977
Allmayer produced an extraordinary number of illustrations for postcards in the form of silhouettes. While many of these images took on traditional form, others were printed in multiple tints and some have color added. Her subjects revolved around natural and religious themes, often combining the two. She also produced a set of botanical postcards illustrated with very simplified forms.
Edmund Aman-Jean 1858-1935 (1936)
Aman-Jean began his studies at the Paris academy in 1880. There he met George Seurat and they shared a studio for seven years. He became an important painter and muralist within the French Symbolist Movement after studying with Puvis de Chavannes, but he moved away from this style after the turn of the 20th century. He participated in all the Salons de la Rose Croix and was a founding member of the Salon des Tuileries. His work largely revolved around images of women influenced by Japonisme, and the Pre-Raphaelite Movement. His work has been reproduced on numerous cards but he also illustrated the postcard series Kunstler-Postkarten around 1910.
Otto Amtsberg 1877-?
Amtsberg produced many illustrations for posters and postcards often centering around sports and patriotic themes. Perhaps his best known work was for a set of fanciful fund cards issued in the late 1920’s to help build the Graph Zeppelin.
Rolf Armstrong 1889-1960
From his New York studio Armstrong created numerous illustrations for ads, magazine covers, sheet music, playing cards, and postcards that were based on his pastels drawn from the model. While he made numerous portraits of movie stars and heroic figures, he is best known for his pinups that he began producing in 1919 with his first calendar for Brown & Bigelow. By 1926 he was illustrating Mutoscope arcade cards. Armstrong is sometimes referred to as the Father of the Pin-Up.
Anne Anderson 1874-1930
After traveling to Great Britain, Anderson, an etcher and watercolorist, married the painter illustrator Alan Write in 1912, and set up a household in Berkshire. His promising career however had come to an end from having too close of ties with the scandalous author Frederic Rolfe. In contrast, Anderson was becoming a very popular illustrator who would eventually create work for at least a hundred children’s books. They often collaborated, with Write drawing many of the animals in her illustrations. Much of this work was also placed on postcards and greeting cards.
Martin Anderson 1854-1932
Anderson began his career by illustrating satirical books during the 1880’s. In 1898 he began working for Blum &amo; Degan where designed court sized postcards. By 1902 Anderson decided to form his own company in Tayport and began placing some of his satirical cartoons on lithographic postcards under the pseudonym Cynicus. While these cards were primarily designed for local seaside tourists he also published Christmas cards and view-cards, some of which were generics. In 1911 his firm began to fail and he tried to restart it in Leeds with only minor success. He moved again in 1914 to Edinburgh but only managed to publish a handful of postcards there before closing for good in 1916. He lived in poverty in his latter years and was buried in an unmarked grave.
Otto Andres 1855-1925
Andres was a rather traditional genre painter working in Berlin. He illustrated a number of early postcards.
Vera Andrus 1896-1979
Andrus studied at the Minnesota School of Architecture and Minneapolis Institute of Arts. Afterwards she moved to Dobbs Ferry, New York and found work at the Metropolitan Museum of art in 1929. Five years later she began attending the Art Student’s League and became heavily involved in lithography. She also spent much time on Cape Ann and in the Canadian Maritimes during the 1930’s, which she captured in her landscape work. After spending some time in France she returned to the United States in 1958 and set up a studio in Rockport, Massachusetts. Between 1939 and 1967 Andrus wrote three books, Sea Bird Island, Sea Dust and Black River, a Wisconsin Story. She was a member of numerous art associations including the National Association of Women Artists, Boston Printmakers, Boston Society of Independent Artists, Rockport Art Association, and the London Royal Society of Art. While a number of her lithographs appear on postcards, she also worked at painting and illustration.
Ezio Anichini 1886-1948
Anichini, the son of illustrator Giuseppe Abdulaziz, also took up illustrative work in 1903 after leaving the Academy in Florence. He provided images for posters and magazines such as Scena Illustrata, and began designing postcards in 1919. Most of his fanciful glamour images were done in a Baroque inspired Art Deco style, but he also illustrated more serious works such as Dante’s Inferno.
Alfred Ernest Walter George Aris 1882-1963
Aris studied at Bradford Technical College’s School of Art and later at the Royal College of Art in London. Afterwards he became a portrait artist but also did much illustration. He contributed work to magazines such as The Graphic, and began illustrating postcards in 1904 that were signed E Aris. He would go on to provide illustrations for hundreds of children’s books. By 1909 he authored many of these books himself though he claimed the “text an excuse for pictures.” While his work was very popular he received little acclaim for it, for he often mimicked the style of other popular artists and he has been accused of plagiarism. Aris also designed many cigarette cards of which he was an avid collector. He is possibly best known for his Cococub characters, which he not only illustrated but designed as lead toys to be placed inside of Cadbury Cocoa tins as premiums.
Angelo Asti 1847-1903
Asti produced paintings of a variety of subjects from his Parisian studio but he is best known for his portraits of women. After his death rights were secured to use his work in illustrating calendars for Brown & Bigellow, and in producing postcards, especially by Raphael Tuck and the Wolf Company. While some of his monochrome postcard images depict nudes, there is no overt sexuality in most of his color work where he relied on a more elegant sense of beauty to create appeal. His work had much influence on the postcard style that would become to be known as pretty women or glamour cards. Some of his paintings were also issued as reproductions on real photo postcards.
Signe Aspelin 1881-1961
Aspelin was a fabric designer and an illustrator of children’s books in a free open style. The publisher Axel Eliassons used much of her work to illustrate their greeting and holiday postcards.
Jane Atché 1872-1937
Atché was a printer painter who was a close associate of Alphonse Mucha, and worked in a strong Art Nouveau Style. She created posters for Job cigarette paper, which wound up as illustrations on postcards.
Mabel Lucie Attwell 1879-1964
Attwell had an early career as a magazine illustrator but began to create drawings for books in 1900. Among her illustrated books are Alice in Wonderland, Grimms Fairytales, Waterbabies, Puss in Boots, and Peter Pan. Many of her illustrations found there way onto postcards published by Valentine & Sons; the most notable of which were her idealized mischievous plump children, often referred to as Chubbies, based on her own daughter Peggy. Her comic strip, Wot a Life, appeared in the London Opinion. Atwell was a member of the Society of Women Artists.
Robert Auer 1873-1952
Auer was a painter and illustrator who studied at the Academies in Vienna and Munich. He took part in the 1896 Vienna Secession, and left the Croatian Salon to help found the more progressive Croatian Society of Artists. Most of Auer’s work consisted of portraits and nudes that incorporated ancient classical themes. This carried over to the watercolors he made for postcard production.
Teodor Axentowicz 1859-1938
Axentowicz attended at the Academy in Munich between 1878 and 1882, which was immediately followed by studies in Paris. There he came under the influence of the Symbolists. This tendency can be seen in his renditions of folk rituals but is also present in his painted and pastel drawn portraits for which he is best known. While in Paris he found work as an illustrator for Le Monde, and received a number of commissions for portraits both here and in London. In 1895 he moved to Krakow, Poland where he set up a studio and found work at the Academy. He also became the cofounder of the Society of Polish Art (Sztuka). Many of his images were used on postcards.