1902 IVORY SOAP ALICE HOME DECOR NURSERY ALICE BARBER STEPHENS ARTIST AD 9923 For Sale

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1902 IVORY SOAP ALICE HOME DECOR NURSERY ALICE BARBER STEPHENS ARTIST AD 9923:
$21.95

DATE OF ** ORIGINAL** ADVERTISEMENT: 1902
COMPANY NAME: PROCTER AND GAMBLE
PRODUCT(S): IVORY SOAP
CITY /TOWN-STATE: -
OWNER: -
ENDORSER: -
ARTIST: ALICE BARBER STEPHENS

Alice Barber Stephens(July 1, 1858 – July 13, 1932) was an American painter and engraver, best remembered for her illustrations. Her work regularly appeared in magazines such asScribner\'s Monthly,Harper\'s Weekly, andThe Ladies Home Journal.

Alice Barber was born nearSalem, New Jersey.[2]She was the eighth of nine children born to Samuel Clayton Barber and Mary Owen, who wereQuakers.[3]

She attended local schools until she and her family moved to Philadelphia, Pennsylvania. At age 15 she became a student at thePhiladelphia School of Design for Women(nowMoore College of Art & Design), where she studiedwood engraving.[3]

The Women\'s Life Class(1879),Pennsylvania Academy of the Fine Arts, Philadelphia, Pennsylvania.[4]

She was admitted to thePennsylvania Academy of the Fine Artsin 1876 (the first year women were admitted), studying underThomas Eakins.[5]Among her fellow students at the Academy wereSusan MacDowell,Frank Stephens, David Wilson Jordan, Lavinia Ebbinghausen,Thomas Anshutz, and Charles H. Stephens (whom she would marry).[6]During this time, at the academy, she began to work with a variety of media, including black-and-white oils, ink washes,charcoal,full-color oils, andwatercolors.[3]In 1879, Eakins chose Stephens to illustrate an Academy classroom scene forScribner\'s Monthly. The resulting work,Women\'s Life Class, was Stephens\' first illustration credit.[5]

As educational opportunities were made more available in the nineteenth century, women artists became part of professional enterprises, including founding their own art associations. Artwork made by women was considered to be inferior by the art world, and to help overcome that stereotype women became \"increasingly vocal and confident\" in promoting women\'s work, and thus became part of the emerging image of the educated, modern and freer \"New Woman\".[7]Artists then, \"played crucial roles in representing the New Woman, both by drawing images of the icon and exemplifying this emerging type through their own lives.\"[7]

Alice Barber Stephens,The Women Business,oil, 1897,Brandywine River Museum,Chadds Ford, Pennsylvania

One example of overcoming women stereotypes was Stephens\'Woman in Businessfrom 1897, which showed how women could focus not only in the home, but also in the economic world.[8]As women began to work, their career choices broadened and illustration became a commendable occupation. People\'s ideas about education and art started to merge, and the outcome of a certain sensitivity to the arts began to be seen as uplifting and educational. By using illustration as a means to further their practices, women were able to fit the traditional gender role while still being active in their pursuits for the \"New Woman\". According to Rena Robey ofArt Times, \"The early feminists began to leave the home to participate in clubs as moral and cultural guardians, focused on cleaning up cities and helping African Americans, impoverished women, working children, immigrants, and other previously ignored groups.\" Stephens took advantage of the explosion of illustration opportunities, including the opportunity to work from home.[9]

Edwin Forrest House, formerly the home of thePhiladelphia School of Design for Women.

Throughout the period before the civil war, textile and other decorative work became acceptable occupations for those who aspired to be in the middle class.[8]The Philadelphia School of Design for Women, founded in 1848 bySarah Worthington Peterwas first among a group of women\'s design schools established in the 1850s and 1860s; others appeared in Boston, New York, Pittsburgh, and Cincinnati.[10][11]It began as a charitable effort to train needy and deserving young women in textile and wallpaper design, wood engraving, and other salable artistic skills, providing a means for training women who needed wage work.[citation needed]

The Pennsylvania Academy of the Fine Arts (PAFA), established in 1805 by painter and scientistCharles Willson Peale, sculptorWilliam Rush, and other artists and business leaders. Although they both taught art and design, PAFA and the Philadelphia School of Design For Women were not of equal social importance; the School of Design remained clearly lower in the city\'s cultural hierarchy, both because it was a women\'s school and because it was dedicated to commercial art instead of the fine arts.[11]However, curriculum changes instituted in the late 1860s moved it closer to the artistic and social orbit derived from the European academic tradition, like the Academy of Fine Arts.[11]

In 1880, Stephens left the Academy to work full-time as an engraver.[5]Her work was in high demand for popular illustrated magazines likeHarper\'s,the oldest general-interest monthly magazine in America, andCentury.While she frequently depicted domestic scenes featuring women and children, her illustrations defied categorization in a single genre.[12][13]Stephens\' connection withHarper\'sbegan in approximately 1882, as it printed the work of American artists and writers, such as Winslow Homer and Mark Twain. Much of her work was published inHarper\'s Young People(later known asHarper\'s Round Table).[10]

By the mid-1880s, however, Stephens\' pace of work began to affect her health.[6]She started to shift into pen-and-ink illustration.[5]Her health continued to suffer, however. In an effort to recuperate, during 1886–1887, she traveled to Europe to sketch, study, and rest.[5]In Paris, she studied at theAcadémie Julianand theAcadémie Colarossi. She exhibited two works, a pastel study and engraving, at theParis Salonin 1887.[3][14]

Upon her return from Europe, Stephens resumed her illustration career with contributions to theLadies\' Home Journaland several book projects forHoughton MifflinandCrowellpublishers.[5]Likely influenced by her European travels (and potentially by her husband), she also began painting in oil.[5]

Stephensexhibitedher work at thePalace of Fine ArtsandThe Woman\'s Buildingat the 1893World\'s Columbian Expositionin Chicago, Illinois.[15]

In 1888, she began to teach courses at thePhiladelphia School of Design for Women. Around the same time, with artist and educatorEmily Sartain, she was one of the founders and officers ofThe Plastic Clubof Philadelphia (1897), the oldest art club for women in continuous existence.[16][17]During this period she also co-founded the Civic Club of Philadelphia.[5]

Among Stephens\' students at the School of Design wasCharlotte Harding, who became a well-known illustrator. Harding also worked forCentury,Harper’sand other popular magazines at the time. Stephens later invited Harding to share her studio, located at 1004 Chestnut Street in Philadelphia.[5][17]The Chestnut Street studio became a meeting point for other artists, including students from the School of the Design and the Academy of Fine Arts.[6]

She illustratedSarah Orne Jewett\'sAn Every-Day Girl(1890).[18]Her paintingThe Germania Orchestra at the Pennsylvania Academy of the Fine Arts(1891) is now among the collection of theBiggs Museum of American Artin Dover, Delaware.[19]During the mid-1890s, following the development of thehalftoneprocess, Stephens started to use more varied media, including watercolor, for her illustrations.[13]The increasing popularity of her illustrations for mystery stories earned her the title \"Mistress of Mysteries.\"[13]

In 1895,The Philadelphia Inquirernoted when referring to Stephens that \"there is scarcely any American illustrator better known to-day.\"[20]That year, SirArthur Conan Doyle\'sThe Stark Munro Letterswas published, which was illustrated by Stephens.[13]

\"The Nursery\" by Alice Barber Stephens. 1898Ivory Soapadvertisement.

Throughout the year 1897,Ladies\' Home Journalran a series called \"The American Woman,\" featuring six full-page illustrations by Stephens. The illustrations depicted the American Woman in six different settings: society, religion, home, summer, business, and motherhood. Notably, Stephens, who was both a career artist and the mother of a then-four-year-old son, chose to set three of the scenes inside the home, and three outside the home.[21]She illustratedMary E. Wilkins\'The People of Our Neighborhood, which was published in 1898.[22]

In 1899, Stephens was invited to teach at thePennsylvania Academy of the Fine Arts, but she declined the offer due to poor health.[3]Following another European sojourn during 1901–1902, Stephens also completed illustrations for the 1903 edition ofLouisa May Alcott\'sLittle Women. During Stephens\' time in Paris in 1902,Maria Christinaof Spain requested that Stephens paint her portrait.[23]

Stephens continued to work as a renowned illustrator and completed illustrations for the 1903 edition ofLouisa May Alcott\'sLittle Women.[23]She served on the jury for theLouisiana Purchase Expositionin St. Louis. In 1904, more commonly known as the St. Louis World\'s Fair.[3]

During the late 1910s, the pace of Stephens\' work began to slow. She reportedly told an interviewer that she refused to work duringWorld War I, saying it was not \"worthwhile to make pictures in the midst of destruction.\"[5]In 1917,Hamlin Garland\'sA Son of the Middle Borderwas published, which was illustrated by Stephens.[24]

In the later part of her career, in the 1920s, Stephens\' illustrations were made of mostly washes or charcoal with washes. She painted landscapes and portraits of Quakers and Pennsylvania Germans.[3]By 1926, she had ceased working commercially.[5]

In 1929, thePlastic Clubheld a retrospective exhibition of her work in Philadelphia.[25]

THEME: WOMAN AND CHILDREN

KEYWORDS (TEXT & IMAGE): SOAP, DETERGENT,CLEAN, WASH, LAUNDRY, HEALTH, BATH, SINK, WATER, PLUMBING, SKIN, BEAUT, GIRL, LADY, WOMAN, MOTHER, MOM, CHILD, GIRL, BOY, BATH TUB, BATHROOM, INFANT, BABY

DATE PRINTED ON ITEM: NO

ADVERTSIZE: APPROX- 10\" x 15\"

ITEM GRADE: VERY GOOD

CONDITION:CLEAN,PERFECT FOR FRAMING AND DISPLAYING.

DESCRIPTION OF ITEM:A GREAT VINTAGE ORIGINAL ADVERTISEMENT FORA HISTORICAL COMPANY AND/OR PRODUCT.
ADVERTS ARE CAREFULLY REMOVED FROM MAGAZINE AND MAY BETRIMMED IN PREPARATION FOR DISPLAYING.
MARGINS ARE INCLUDED IN ADVERT SIZE.

**NOTE** : PAGES MAY SHOW AGE WEAR AND IMPERFECTIONS TO MARGINS, WITH CLOSED NICKS AND CUTS, WHICH DO NOT AFFECT AD IMAGE OR TEXT WHEN MATTED AND FRAMED.

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