Sarah S. Stilwell was born in Concordville, Pennsylvania in 1878. Little is known about Sarah’s early life but her nieces and nephews describe her fondly. “My Aunt Sarah was a unique person with a great deal of imagination which is quite apparent in her work. She was a self-effacing yet positive woman who loved the innocence of little children.” Sarah was fortunate to attend the Drexel Institute in Philadelphia in 1897, around the time that Howard Pyle was coming on as a full time teacher. Pyle was a well- known illustrationist in his own right, and was known for the innovations that he brought to the field of illustrating. Pyle’s classes quickly became popular, making it difficult to gain entry without strong credentials and fierce determination. In a letter to his friend Edward Penfield, the art editor of Harper’s Bazaar, Pyle wrote: “I shall make it a requisite that the pupils whom I choose shall possess—first of all, imagination; secondly, artistic ability; thirdly, color and drawing; and I shall probably not accept any who are deficient in any one of these three requisites.” In the summer of 1899, Sarah-Stilwell was invited to join an exclusive group of students at Chadd’s Ford on the Brandywine. Drexel Institute had managed to raise a thousand dollars for Pyle to fund this special project, with ten one-hundred-dollar scholarships being awarded to only his most talented students. Sarah joined this exclusive group of the best and the brightest in the freedom from the tyranny of conventional and restrictive methods of teaching. They dined, worked and played together, creating a sense of comradery and openness rather than harsh competition. Sarah’s time in this relaxed atmosphere would remain a theme she would foster in the years to come. At the close of Sarah’s first summer session, Pyle’s report read: “All the students have shown more advance in two months of summer study than they have in a year of ordinary instruction. This, of course, might have been largely due to the fact of the contact of the students with nature and of their free and wholesome life in the open air. They prepared for work at eight o’clock in the morning and they rarely concluded their labors until five or six in the afternoon.” What Howard Pyle did for his most prized students was literally to launch their career in the New York marketplace. He not only showed them how to improve and refine their talent but he went a step further by introducing them to the market in which their talent could produce a livelihood. And Sarah Stilwell was one of Pyle’s favorite young artist. At the turn of the century, Sarah was one of the first students to move into his Wilmington, Delaware studio at 1305 Franklin Street. There, along with other fine artists as Ethel Franklin Betts, Dorothy Warren, Frank Schoonover, Stanley Arthurs and others, she worked and shared knowledge. Howard Pyle urged Sarah never to marry, as marriage would interfere with the creative life of the artist. Sarah did the majority of her cover art for The Saturday Evening Post from 1904 through 1921. Not one to work well under pressure, she resisted the offer by George Horace Lorimer to do regularly scheduled pieces. She preferred having the freedom to work at her own pace and submit items at her leisure, feeling that a deadline might compromise her need to work until she felt personally satisfied with the result. Many of the Brandywine School artists had a flair for capturing grace and detail of the Victorian Era yet not letting decoration and detail overwhelm the subject matter. Sarah was particularly adept at creating movement and flow that gave the impression of coming and going. Her work was not merely a snapshot captured at a point in time. You had the distinct impression that the subject would dance off the page in the next moment. Sarah Stilwell-Weber’s illustrations graced sixty covers of The Saturday Evening Postand five for The Country Gentleman. Her favorite subjects were of young children while at play, taking you back to a time of simple pleasures. Their youthful enthusiasm and all the movement that goes with their exploration are captured in the expressions on their delight filled faces. One of Sarah Stilwell-Weber’s last publishing ventures was a children’s book entitled The Musical Tree. Her husband, Herbert, wrote the poems and music, Sarah did the illustrations. She died on April 6, 1939 at her home in Philadelphia, Pennsylvania at the age of sixty-one. Sarah Stilwell Weber, Photograph, circa 1902 By the Evening Fire, 1904 Happy Days, pen and ink, book title page, 1902 Rhymes and Jingles, book cover design, 1904 "Love at First Sight", Associated Sunday Magazine cover October 8, 1905 issue Illustration of Bluebeard’s Wife from the Musical Tree. Mother's Hero Musical Tree Harper's magazine interior page - February 1903 Stilwell was hitting the big-time around age 25. Collier's - August 1907 Collier's cover art - 17 March 1906 One of Stilwell's best-known works. Saturday Evening Post cover - 29 January 1910 Saturday Evening Post cover - 20 August 1910 The Water Babies. The Fairy Godmother. December 1899 issue of Harper's Monthly Magazine Story illustration: "First Loves," Children at party, Golden Age Illustration, 1904. Story illustration: Girls at the beach, Golden Age Illustration, 1905. Story illustration: painting of girl eating grapes, Golden Age Illustration, 1905. Story illustration: Painting of schoolgirl writing at desk, Golden Age Illustration, 1902. Magazine advertisement for towel company, Golden Age illustration, c.1922. 1902 Antique Art Illustration Sarah Stilwell Young girl in Classroom In School December 1899 issue of Harper's Monthly Magazine "Flowers of May" The Fairy of the Christmas Tree. Bluebeard's Wife Child Classics, Frontispiece Child Classics, illustration of Cinderella Child Classics, illustration of Goody Two-Shoes Child Classics, illustration of the Little Red Hen featuring a classic Stilwell Weber pinafore, Harper's New Monthly Magazine Volume 104 December 1901 to May 1902 Harper's New Monthly Magazine Volume 104 December 1901 to May 1902 Harper's New Monthly Magazine Volume 104 December 1901 to May 1902 Sarah S. Stilwell Scribners magazine Vogue, June 1913 Antique Halloween Print..November 5, 1898 issue of Harper's Bazar magazine. It has a great spooky illustration "A Vision on All Hallow'n Eve"--Drawn by Sarah Stilwell. .. 2j The Mer-Mother ~ The Pine Lady Illustration for The Pine Lady by Richard Le Gallienne. Published in the February 1903 edition of "Harper's Monthly Magazine" The Mer-Mother ~ The Pine Lady Illustration for Harper's Monthly Magazine, 1902 The Musical Tree. "Lady and Leopard" CHILDREN Having TEA PARTY, FEEDING DOLL by SARAH STILWELL antique print 1900 Sarah Stilwell Weber, "Girl with Schoolbooks Walking in Rain with Umbrella", The Saturday Evening Post, October 9, 1909 Kiddie Kar, 1919 magazine illustration

Sarah Stilwell Weber (1878-1939) or (1863-1935), both sets of dates are in various places on the Internet, was a successful illustrator during the first two decades of the 20th century. Her illustrations graced the covers and interiors of several leading magazines as well as books and advertisements. Unfortunately, I can find little in the way of information about her on the Internet, though two sites dealing with her are here and here. What little detail follows is gleaned from Walt Reed's "The Illustrator in America, 1860-2000." Reed and other sources I'm inclined to trust have 1878-1939 as her dates. She studied under Howard Pyle both at Drexel and in summer sessions at Chadd's Ford. Reed also notes her book illustration work and some advertising clients. That being that, all I can do is present some examples of her work. Gallery Harper's magazine interior page - February 1903 Stilwell was hitting the big-time around age 25. Collier's - August 1907 Collier's cover art - 17 March 1906 One of Stilwell's best-known works. Saturday Evening Post cover - 19 January 1916 It seems she borrowed the general idea ten years later for Collier's rival, the Post. Saturday Evening Post cover - 29 January 1910 Saturday Evening Post cover - 20 August 1910 Many of her covers used children as subjects. Vogue cover - 15 October 1912 More leopard, this time skinned, and for Vogue. Vogue cover - 15 June 1913 This seems to be unsigned, but Internet sites credit her with the illustration. Collier's cover - 9 May 1914 A really fine illustration here. Saturday Evening Post cover - 3 March 1917 The Russian-type costume was ill-timed, because the February Revolution (March 8-12, new calendar) occurred just after this issue was off the news stands, and Russia became more chaotic than it usually was in those years.

Sarah Stilwell Weber (1878-1939) or (1863-1935), both sets of dates are in various places on the Internet, was a successful illustrator during the first two decades of the 20th century. Her illustrations graced the covers and interiors of several leading magazines as well as books and advertisements. Unfortunately, I can find little in the way of information about her on the Internet, though two sites dealing with her are here and here. What little detail follows is gleaned from Walt Reed's "The Illustrator in America, 1860-2000." Reed and other sources I'm inclined to trust have 1878-1939 as her dates. She studied under Howard Pyle both at Drexel and in summer sessions at Chadd's Ford. Reed also notes her book illustration work and some advertising clients. That being that, all I can do is present some examples of her work. Gallery Harper's magazine interior page - February 1903 Stilwell was hitting the big-time around age 25. Collier's - August 1907 Collier's cover art - 17 March 1906 One of Stilwell's best-known works. Saturday Evening Post cover - 19 January 1916 It seems she borrowed the general idea ten years later for Collier's rival, the Post. Saturday Evening Post cover - 29 January 1910 Saturday Evening Post cover - 20 August 1910 Many of her covers used children as subjects. Vogue cover - 15 October 1912 More leopard, this time skinned, and for Vogue. Vogue cover - 15 June 1913 This seems to be unsigned, but Internet sites credit her with the illustration. Collier's cover - 9 May 1914 A really fine illustration here. Saturday Evening Post cover - 3 March 1917 The Russian-type costume was ill-timed, because the February Revolution (March 8-12, new calendar) occurred just after this issue was off the news stands, and Russia became more chaotic than it usually was in those years.

Kiddie Kar Verses (Philadelphia: J. B. Lippencott Company, 1920) by Richard J. Walsh (second husband of Pearl S. Buck, 1892-1973) was illustrated with color plates and elaborate decorative borders …

Sarah Stilwell Weber (1878-1939) was an American illustrator who studied at Drexel Institute under Howard Pyle. She illustrated books and national magazines, like The Saturday Evening Post, Vogue, and The Century Magazine. Sarah S. Stilwell was born in Concordville, Pennsylvania. She was described affectionately by her nephews and nieces for her love of children and her positive, "self-effacing" and imaginative personality.

Sarah S. Stilwell was born in Concordville, Pennsylvania in 1878. Little is known about Sarah’s early life but her nieces and nephews describe her fondly. “My Aunt Sarah was a unique person with a great deal of imagination which is quite apparent in her work. She was a self-effacing yet positive woman who loved the innocence of little children.” Sarah was fortunate to attend the Drexel Institute in Philadelphia in 1897, around the time that Howard Pyle was coming on as a full time teacher. Pyle was a well- known illustrationist in his own right, and was known for the innovations that he brought to the field of illustrating. Pyle’s classes quickly became popular, making it difficult to gain entry without strong credentials and fierce determination. In a letter to his friend Edward Penfield, the art editor of Harper’s Bazaar, Pyle wrote: “I shall make it a requisite that the pupils whom I choose shall possess—first of all, imagination; secondly, artistic ability; thirdly, color and drawing; and I shall probably not accept any who are deficient in any one of these three requisites.” In the summer of 1899, Sarah-Stilwell was invited to join an exclusive group of students at Chadd’s Ford on the Brandywine. Drexel Institute had managed to raise a thousand dollars for Pyle to fund this special project, with ten one-hundred-dollar scholarships being awarded to only his most talented students. Sarah joined this exclusive group of the best and the brightest in the freedom from the tyranny of conventional and restrictive methods of teaching. They dined, worked and played together, creating a sense of comradery and openness rather than harsh competition. Sarah’s time in this relaxed atmosphere would remain a theme she would foster in the years to come. At the close of Sarah’s first summer session, Pyle’s report read: “All the students have shown more advance in two months of summer study than they have in a year of ordinary instruction. This, of course, might have been largely due to the fact of the contact of the students with nature and of their free and wholesome life in the open air. They prepared for work at eight o’clock in the morning and they rarely concluded their labors until five or six in the afternoon.” What Howard Pyle did for his most prized students was literally to launch their career in the New York marketplace. He not only showed them how to improve and refine their talent but he went a step further by introducing them to the market in which their talent could produce a livelihood. And Sarah Stilwell was one of Pyle’s favorite young artist. At the turn of the century, Sarah was one of the first students to move into his Wilmington, Delaware studio at 1305 Franklin Street. There, along with other fine artists as Ethel Franklin Betts, Dorothy Warren, Frank Schoonover, Stanley Arthurs and others, she worked and shared knowledge. Howard Pyle urged Sarah never to marry, as marriage would interfere with the creative life of the artist. Sarah did the majority of her cover art for The Saturday Evening Post from 1904 through 1921. Not one to work well under pressure, she resisted the offer by George Horace Lorimer to do regularly scheduled pieces. She preferred having the freedom to work at her own pace and submit items at her leisure, feeling that a deadline might compromise her need to work until she felt personally satisfied with the result. Many of the Brandywine School artists had a flair for capturing grace and detail of the Victorian Era yet not letting decoration and detail overwhelm the subject matter. Sarah was particularly adept at creating movement and flow that gave the impression of coming and going. Her work was not merely a snapshot captured at a point in time. You had the distinct impression that the subject would dance off the page in the next moment. Sarah Stilwell-Weber’s illustrations graced sixty covers of The Saturday Evening Postand five for The Country Gentleman. Her favorite subjects were of young children while at play, taking you back to a time of simple pleasures. Their youthful enthusiasm and all the movement that goes with their exploration are captured in the expressions on their delight filled faces. One of Sarah Stilwell-Weber’s last publishing ventures was a children’s book entitled The Musical Tree. Her husband, Herbert, wrote the poems and music, Sarah did the illustrations. She died on April 6, 1939 at her home in Philadelphia, Pennsylvania at the age of sixty-one. Sarah Stilwell Weber, Photograph, circa 1902 By the Evening Fire, 1904 Happy Days, pen and ink, book title page, 1902 Rhymes and Jingles, book cover design, 1904 "Love at First Sight", Associated Sunday Magazine cover October 8, 1905 issue Illustration of Bluebeard’s Wife from the Musical Tree. Mother's Hero Musical Tree Harper's magazine interior page - February 1903 Stilwell was hitting the big-time around age 25. Collier's - August 1907 Collier's cover art - 17 March 1906 One of Stilwell's best-known works. Saturday Evening Post cover - 29 January 1910 Saturday Evening Post cover - 20 August 1910 The Water Babies. The Fairy Godmother. December 1899 issue of Harper's Monthly Magazine Story illustration: "First Loves," Children at party, Golden Age Illustration, 1904. Story illustration: Girls at the beach, Golden Age Illustration, 1905. Story illustration: painting of girl eating grapes, Golden Age Illustration, 1905. Story illustration: Painting of schoolgirl writing at desk, Golden Age Illustration, 1902. Magazine advertisement for towel company, Golden Age illustration, c.1922. 1902 Antique Art Illustration Sarah Stilwell Young girl in Classroom In School December 1899 issue of Harper's Monthly Magazine "Flowers of May" The Fairy of the Christmas Tree. Bluebeard's Wife Child Classics, Frontispiece Child Classics, illustration of Cinderella Child Classics, illustration of Goody Two-Shoes Child Classics, illustration of the Little Red Hen featuring a classic Stilwell Weber pinafore, Harper's New Monthly Magazine Volume 104 December 1901 to May 1902 Harper's New Monthly Magazine Volume 104 December 1901 to May 1902 Harper's New Monthly Magazine Volume 104 December 1901 to May 1902 Sarah S. Stilwell Scribners magazine Vogue, June 1913 Antique Halloween Print..November 5, 1898 issue of Harper's Bazar magazine. It has a great spooky illustration "A Vision on All Hallow'n Eve"--Drawn by Sarah Stilwell. .. 2j The Mer-Mother ~ The Pine Lady Illustration for The Pine Lady by Richard Le Gallienne. Published in the February 1903 edition of "Harper's Monthly Magazine" The Mer-Mother ~ The Pine Lady Illustration for Harper's Monthly Magazine, 1902 The Musical Tree. "Lady and Leopard" CHILDREN Having TEA PARTY, FEEDING DOLL by SARAH STILWELL antique print 1900 Sarah Stilwell Weber, "Girl with Schoolbooks Walking in Rain with Umbrella", The Saturday Evening Post, October 9, 1909 Kiddie Kar, 1919 magazine illustration

Sarah S. Stilwell was born in Concordville, Pennsylvania in 1878. Little is known about Sarah’s early life but her nieces and nephews describe her fondly. “My Aunt Sarah was a unique person with a great deal of imagination which is quite apparent in her work. She was a self-effacing yet positive woman who loved the innocence of little children.” Sarah was fortunate to attend the Drexel Institute in Philadelphia in 1897, around the time that Howard Pyle was coming on as a full time teacher. Pyle was a well- known illustrationist in his own right, and was known for the innovations that he brought to the field of illustrating. Pyle’s classes quickly became popular, making it difficult to gain entry without strong credentials and fierce determination. In a letter to his friend Edward Penfield, the art editor of Harper’s Bazaar, Pyle wrote: “I shall make it a requisite that the pupils whom I choose shall possess—first of all, imagination; secondly, artistic ability; thirdly, color and drawing; and I shall probably not accept any who are deficient in any one of these three requisites.” In the summer of 1899, Sarah-Stilwell was invited to join an exclusive group of students at Chadd’s Ford on the Brandywine. Drexel Institute had managed to raise a thousand dollars for Pyle to fund this special project, with ten one-hundred-dollar scholarships being awarded to only his most talented students. Sarah joined this exclusive group of the best and the brightest in the freedom from the tyranny of conventional and restrictive methods of teaching. They dined, worked and played together, creating a sense of comradery and openness rather than harsh competition. Sarah’s time in this relaxed atmosphere would remain a theme she would foster in the years to come. At the close of Sarah’s first summer session, Pyle’s report read: “All the students have shown more advance in two months of summer study than they have in a year of ordinary instruction. This, of course, might have been largely due to the fact of the contact of the students with nature and of their free and wholesome life in the open air. They prepared for work at eight o’clock in the morning and they rarely concluded their labors until five or six in the afternoon.” What Howard Pyle did for his most prized students was literally to launch their career in the New York marketplace. He not only showed them how to improve and refine their talent but he went a step further by introducing them to the market in which their talent could produce a livelihood. And Sarah Stilwell was one of Pyle’s favorite young artist. At the turn of the century, Sarah was one of the first students to move into his Wilmington, Delaware studio at 1305 Franklin Street. There, along with other fine artists as Ethel Franklin Betts, Dorothy Warren, Frank Schoonover, Stanley Arthurs and others, she worked and shared knowledge. Howard Pyle urged Sarah never to marry, as marriage would interfere with the creative life of the artist.

Vogue Cover Featuring Three Women With Flowers by Sarah Stilwell Weber

Sarah Stilwell Weber (1878 April 6, 1939) was an American illustrator who studied at Drexel Institute under Howard Pyle. She illustrated books and national magazines, like The Saturday Evening Post, Vogue, and The Century Magazine. Sarah S. Stilwell was born in Concordville, Pennsylvania. She was

Sarah S. Stilwell was born in Concordville, Pennsylvania in 1878. Little is known about Sarah’s early life but her nieces and nephews describe her fondly. “My Aunt Sarah was a unique person with a great deal of imagination which is quite apparent in her work. She was a self-effacing yet positive woman who loved the innocence of little children.” Sarah was fortunate to attend the Drexel Institute in Philadelphia in 1897, around the time that Howard Pyle was coming on as a full time teacher. Pyle was a well- known illustrationist in his own right, and was known for the innovations that he brought to the field of illustrating. Pyle’s classes quickly became popular, making it difficult to gain entry without strong credentials and fierce determination. In a letter to his friend Edward Penfield, the art editor of Harper’s Bazaar, Pyle wrote: “I shall make it a requisite that the pupils whom I choose shall possess—first of all, imagination; secondly, artistic ability; thirdly, color and drawing; and I shall probably not accept any who are deficient in any one of these three requisites.” In the summer of 1899, Sarah-Stilwell was invited to join an exclusive group of students at Chadd’s Ford on the Brandywine. Drexel Institute had managed to raise a thousand dollars for Pyle to fund this special project, with ten one-hundred-dollar scholarships being awarded to only his most talented students. Sarah joined this exclusive group of the best and the brightest in the freedom from the tyranny of conventional and restrictive methods of teaching. They dined, worked and played together, creating a sense of comradery and openness rather than harsh competition. Sarah’s time in this relaxed atmosphere would remain a theme she would foster in the years to come. At the close of Sarah’s first summer session, Pyle’s report read: “All the students have shown more advance in two months of summer study than they have in a year of ordinary instruction. This, of course, might have been largely due to the fact of the contact of the students with nature and of their free and wholesome life in the open air. They prepared for work at eight o’clock in the morning and they rarely concluded their labors until five or six in the afternoon.” What Howard Pyle did for his most prized students was literally to launch their career in the New York marketplace. He not only showed them how to improve and refine their talent but he went a step further by introducing them to the market in which their talent could produce a livelihood. And Sarah Stilwell was one of Pyle’s favorite young artist. At the turn of the century, Sarah was one of the first students to move into his Wilmington, Delaware studio at 1305 Franklin Street. There, along with other fine artists as Ethel Franklin Betts, Dorothy Warren, Frank Schoonover, Stanley Arthurs and others, she worked and shared knowledge. Howard Pyle urged Sarah never to marry, as marriage would interfere with the creative life of the artist. Sarah did the majority of her cover art for The Saturday Evening Post from 1904 through 1921. Not one to work well under pressure, she resisted the offer by George Horace Lorimer to do regularly scheduled pieces. She preferred having the freedom to work at her own pace and submit items at her leisure, feeling that a deadline might compromise her need to work until she felt personally satisfied with the result. Many of the Brandywine School artists had a flair for capturing grace and detail of the Victorian Era yet not letting decoration and detail overwhelm the subject matter. Sarah was particularly adept at creating movement and flow that gave the impression of coming and going. Her work was not merely a snapshot captured at a point in time. You had the distinct impression that the subject would dance off the page in the next moment. Sarah Stilwell-Weber’s illustrations graced sixty covers of The Saturday Evening Postand five for The Country Gentleman. Her favorite subjects were of young children while at play, taking you back to a time of simple pleasures. Their youthful enthusiasm and all the movement that goes with their exploration are captured in the expressions on their delight filled faces. One of Sarah Stilwell-Weber’s last publishing ventures was a children’s book entitled The Musical Tree. Her husband, Herbert, wrote the poems and music, Sarah did the illustrations. She died on April 6, 1939 at her home in Philadelphia, Pennsylvania at the age of sixty-one. Sarah Stilwell Weber, Photograph, circa 1902 By the Evening Fire, 1904 Happy Days, pen and ink, book title page, 1902 Rhymes and Jingles, book cover design, 1904 "Love at First Sight", Associated Sunday Magazine cover October 8, 1905 issue Illustration of Bluebeard’s Wife from the Musical Tree. Mother's Hero Musical Tree Harper's magazine interior page - February 1903 Stilwell was hitting the big-time around age 25. Collier's - August 1907 Collier's cover art - 17 March 1906 One of Stilwell's best-known works. Saturday Evening Post cover - 29 January 1910 Saturday Evening Post cover - 20 August 1910 The Water Babies. The Fairy Godmother. December 1899 issue of Harper's Monthly Magazine Story illustration: "First Loves," Children at party, Golden Age Illustration, 1904. Story illustration: Girls at the beach, Golden Age Illustration, 1905. Story illustration: painting of girl eating grapes, Golden Age Illustration, 1905. Story illustration: Painting of schoolgirl writing at desk, Golden Age Illustration, 1902. Magazine advertisement for towel company, Golden Age illustration, c.1922. 1902 Antique Art Illustration Sarah Stilwell Young girl in Classroom In School December 1899 issue of Harper's Monthly Magazine "Flowers of May" The Fairy of the Christmas Tree. Bluebeard's Wife Child Classics, Frontispiece Child Classics, illustration of Cinderella Child Classics, illustration of Goody Two-Shoes Child Classics, illustration of the Little Red Hen featuring a classic Stilwell Weber pinafore, Harper's New Monthly Magazine Volume 104 December 1901 to May 1902 Harper's New Monthly Magazine Volume 104 December 1901 to May 1902 Harper's New Monthly Magazine Volume 104 December 1901 to May 1902 Sarah S. Stilwell Scribners magazine Vogue, June 1913 Antique Halloween Print..November 5, 1898 issue of Harper's Bazar magazine. It has a great spooky illustration "A Vision on All Hallow'n Eve"--Drawn by Sarah Stilwell. .. 2j The Mer-Mother ~ The Pine Lady Illustration for The Pine Lady by Richard Le Gallienne. Published in the February 1903 edition of "Harper's Monthly Magazine" The Mer-Mother ~ The Pine Lady Illustration for Harper's Monthly Magazine, 1902 The Musical Tree. "Lady and Leopard" CHILDREN Having TEA PARTY, FEEDING DOLL by SARAH STILWELL antique print 1900 Sarah Stilwell Weber, "Girl with Schoolbooks Walking in Rain with Umbrella", The Saturday Evening Post, October 9, 1909 Kiddie Kar, 1919 magazine illustration

Woman With Leopards The Water Babies By The Evening Fire Grapes Love At First Sight Flowers Of May Girl With Kittens title unknown Girl With Doll

Sarah Stilwell Weber (1878-1939) was an American illustrator who studied at Drexel Institute under Howard Pyle. She illustrated books and national magazines, like The Saturday Evening Post, Vogue, and The Century Magazine. Sarah S. Stilwell was born in Concordville, Pennsylvania. She was described affectionately by her nephews and nieces for her love of children and her positive, "self-effacing" and imaginative personality.

Explore carlylehold's 17339 photos on Flickr!

Sarah Stilwell Weber (1878 April 6, 1939) was an American illustrator who studied at Drexel Institute under Howard Pyle. She illustrated books and national magazines, like The Saturday Evening Post, Vogue, and The Century Magazine. Sarah S. Stilwell was born in Concordville, Pennsylvania. She was

Sarah Stilwell Weber (1878-1939) American illustrator who studied at Drexel Institute under Howard Pyle.

Examples of outstanding talent which may or may not have been overlooked or forgotten. Compiled by a working illustrator and designer.

Examples of outstanding talent which may or may not have been overlooked or forgotten. Compiled by a working illustrator and designer.

my-museum-of-art.blogspot.com/

Sarah Stilwell Weber (1878-1939) was an American illustrator who studied at Drexel Institute under Howard Pyle. She illustrated books and national magazines, like The Saturday Evening Post, Vogue, and The Century Magazine. Sarah S. Stilwell was born in Concordville, Pennsylvania. She was described affectionately by her nephews and nieces for her love of children and her positive, "self-effacing" and imaginative personality.

Sarah Stilwell Weber (1878-1939) or (1863-1935), both sets of dates are in various places on the Internet, was a successful illustrator during the first two decades of the 20th century. Her illustrations graced the covers and interiors of several leading magazines as well as books and advertisements. Unfortunately, I can find little in the way of information about her on the Internet, though two sites dealing with her are here and here. What little detail follows is gleaned from Walt Reed's "The Illustrator in America, 1860-2000." Reed and other sources I'm inclined to trust have 1878-1939 as her dates. She studied under Howard Pyle both at Drexel and in summer sessions at Chadd's Ford. Reed also notes her book illustration work and some advertising clients. That being that, all I can do is present some examples of her work. Gallery Harper's magazine interior page - February 1903 Stilwell was hitting the big-time around age 25. Collier's - August 1907 Collier's cover art - 17 March 1906 One of Stilwell's best-known works. Saturday Evening Post cover - 19 January 1916 It seems she borrowed the general idea ten years later for Collier's rival, the Post. Saturday Evening Post cover - 29 January 1910 Saturday Evening Post cover - 20 August 1910 Many of her covers used children as subjects. Vogue cover - 15 October 1912 More leopard, this time skinned, and for Vogue. Vogue cover - 15 June 1913 This seems to be unsigned, but Internet sites credit her with the illustration. Collier's cover - 9 May 1914 A really fine illustration here. Saturday Evening Post cover - 3 March 1917 The Russian-type costume was ill-timed, because the February Revolution (March 8-12, new calendar) occurred just after this issue was off the news stands, and Russia became more chaotic than it usually was in those years.

Examples of outstanding talent which may or may not have been overlooked or forgotten. Compiled by a working illustrator and designer.

Sarah S. Stilwell was born in Concordville, Pennsylvania in 1878. Little is known about Sarah’s early life but her nieces and nephews describe her fondly. “My Aunt Sarah was a unique person with a great deal of imagination which is quite apparent in her work. She was a self-effacing yet positive woman who loved the innocence of little children.” Sarah was fortunate to attend the Drexel Institute in Philadelphia in 1897, around the time that Howard Pyle was coming on as a full time teacher. Pyle was a well- known illustrationist in his own right, and was known for the innovations that he brought to the field of illustrating. Pyle’s classes quickly became popular, making it difficult to gain entry without strong credentials and fierce determination. In a letter to his friend Edward Penfield, the art editor of Harper’s Bazaar, Pyle wrote: “I shall make it a requisite that the pupils whom I choose shall possess—first of all, imagination; secondly, artistic ability; thirdly, color and drawing; and I shall probably not accept any who are deficient in any one of these three requisites.” In the summer of 1899, Sarah-Stilwell was invited to join an exclusive group of students at Chadd’s Ford on the Brandywine. Drexel Institute had managed to raise a thousand dollars for Pyle to fund this special project, with ten one-hundred-dollar scholarships being awarded to only his most talented students. Sarah joined this exclusive group of the best and the brightest in the freedom from the tyranny of conventional and restrictive methods of teaching. They dined, worked and played together, creating a sense of comradery and openness rather than harsh competition. Sarah’s time in this relaxed atmosphere would remain a theme she would foster in the years to come. At the close of Sarah’s first summer session, Pyle’s report read: “All the students have shown more advance in two months of summer study than they have in a year of ordinary instruction. This, of course, might have been largely due to the fact of the contact of the students with nature and of their free and wholesome life in the open air. They prepared for work at eight o’clock in the morning and they rarely concluded their labors until five or six in the afternoon.” What Howard Pyle did for his most prized students was literally to launch their career in the New York marketplace. He not only showed them how to improve and refine their talent but he went a step further by introducing them to the market in which their talent could produce a livelihood. And Sarah Stilwell was one of Pyle’s favorite young artist. At the turn of the century, Sarah was one of the first students to move into his Wilmington, Delaware studio at 1305 Franklin Street. There, along with other fine artists as Ethel Franklin Betts, Dorothy Warren, Frank Schoonover, Stanley Arthurs and others, she worked and shared knowledge. Howard Pyle urged Sarah never to marry, as marriage would interfere with the creative life of the artist. Sarah did the majority of her cover art for The Saturday Evening Post from 1904 through 1921. Not one to work well under pressure, she resisted the offer by George Horace Lorimer to do regularly scheduled pieces. She preferred having the freedom to work at her own pace and submit items at her leisure, feeling that a deadline might compromise her need to work until she felt personally satisfied with the result. Many of the Brandywine School artists had a flair for capturing grace and detail of the Victorian Era yet not letting decoration and detail overwhelm the subject matter. Sarah was particularly adept at creating movement and flow that gave the impression of coming and going. Her work was not merely a snapshot captured at a point in time. You had the distinct impression that the subject would dance off the page in the next moment. Sarah Stilwell-Weber’s illustrations graced sixty covers of The Saturday Evening Postand five for The Country Gentleman. Her favorite subjects were of young children while at play, taking you back to a time of simple pleasures. Their youthful enthusiasm and all the movement that goes with their exploration are captured in the expressions on their delight filled faces. One of Sarah Stilwell-Weber’s last publishing ventures was a children’s book entitled The Musical Tree. Her husband, Herbert, wrote the poems and music, Sarah did the illustrations. She died on April 6, 1939 at her home in Philadelphia, Pennsylvania at the age of sixty-one. Sarah Stilwell Weber, Photograph, circa 1902 By the Evening Fire, 1904 Happy Days, pen and ink, book title page, 1902 Rhymes and Jingles, book cover design, 1904 "Love at First Sight", Associated Sunday Magazine cover October 8, 1905 issue Illustration of Bluebeard’s Wife from the Musical Tree. Mother's Hero Musical Tree Harper's magazine interior page - February 1903 Stilwell was hitting the big-time around age 25. Collier's - August 1907 Collier's cover art - 17 March 1906 One of Stilwell's best-known works. Saturday Evening Post cover - 29 January 1910 Saturday Evening Post cover - 20 August 1910 The Water Babies. The Fairy Godmother. December 1899 issue of Harper's Monthly Magazine Story illustration: "First Loves," Children at party, Golden Age Illustration, 1904. Story illustration: Girls at the beach, Golden Age Illustration, 1905. Story illustration: painting of girl eating grapes, Golden Age Illustration, 1905. Story illustration: Painting of schoolgirl writing at desk, Golden Age Illustration, 1902. Magazine advertisement for towel company, Golden Age illustration, c.1922. 1902 Antique Art Illustration Sarah Stilwell Young girl in Classroom In School December 1899 issue of Harper's Monthly Magazine "Flowers of May" The Fairy of the Christmas Tree. Bluebeard's Wife Child Classics, Frontispiece Child Classics, illustration of Cinderella Child Classics, illustration of Goody Two-Shoes Child Classics, illustration of the Little Red Hen featuring a classic Stilwell Weber pinafore, Harper's New Monthly Magazine Volume 104 December 1901 to May 1902 Harper's New Monthly Magazine Volume 104 December 1901 to May 1902 Harper's New Monthly Magazine Volume 104 December 1901 to May 1902 Sarah S. Stilwell Scribners magazine Vogue, June 1913 Antique Halloween Print..November 5, 1898 issue of Harper's Bazar magazine. It has a great spooky illustration "A Vision on All Hallow'n Eve"--Drawn by Sarah Stilwell. .. 2j The Mer-Mother ~ The Pine Lady Illustration for The Pine Lady by Richard Le Gallienne. Published in the February 1903 edition of "Harper's Monthly Magazine" The Mer-Mother ~ The Pine Lady Illustration for Harper's Monthly Magazine, 1902 The Musical Tree. "Lady and Leopard" CHILDREN Having TEA PARTY, FEEDING DOLL by SARAH STILWELL antique print 1900 Sarah Stilwell Weber, "Girl with Schoolbooks Walking in Rain with Umbrella", The Saturday Evening Post, October 9, 1909 Kiddie Kar, 1919 magazine illustration

Sarah Stilwell Weber (1878-1939) was an American illustrator who studied at Drexel Institute under Howard Pyle. She illustrated books and national magazines, like The Saturday Evening Post, Vogue, and The Century Magazine. Sarah S. Stilwell was born in Concordville, Pennsylvania. She was described affectionately by her nephews and nieces for her love of children and her positive, "self-effacing" and imaginative personality.

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