From 1901 to 1938, the Pierce-Arrow Motor Car Company was the epitome of automotive style. Its 1904 Great Arrow model was the company’s most successful product, introducing a larger, more reliable, and more luxurious car to the upscale American market. Pierce-Arrow quickly became a coveted status symbol of its day. Hollywood stars, industry tycoons, royalty and presidents all had a Pierce-Arrow in their collections and the company enjoyed a spot at the pinnacle of American luxury cars alongside the other two giants of the era, Peerless and Packard.
In addition to some of the innovative design choices for the cars, Pierce-Arrow’s advertising set it apart from its competitors. The promotional illustrations published by the company were more artistic and understated than their contemporaries, choosing to show only a portion of the car and instead emphasizing chic and exclusive settings. Penfield was an obvious choice to create illustrations for the company as his now ubiquitous style matched the company’s image of a life of leisure. In this study for a Pierce-Arrow advertisement, Penfield has brought the car to Holland with a fashionable, young party behind the wheel. Two stately windmills dominate the background while a local woman stands at the front of the car, admiring its sleek, powerful design.
Sourced directly from the artist's estate, the works of Edward Penfield: American Illustrator offer rich insights into the life and work of the man who largely defined American poster art—and commercial design—from the Gilded Age well into the 20th century. Spanning studies for major publications to travel sketchbooks to completed Harper's magazine covers, this collection showcases the breadth and evolution of Penfield's practice, as well as those subjects that captured his interest again and again.
Edward Penfield 1866–1925
Widely regarded as the father of the American Poster Movement, Edward Penfield has become one of the most sought-after and celebrated illustrators of the 19th and 20th centuries. Born in June of 1866 in Brooklyn to Ellen Lock Moore and Josiah B. Penfield, Edward was the third of five children. He received his early education at home from his mother and from Brooklyn public schools, but eventually followed in the footsteps of his uncle Henry Lewis Penfield Jr. in becoming an artist.
Penfield enrolled at the Art Students League in his early 20s, studying under the celebrated painter George de Forest Brush. His work was noticed in a student exhibition by an art editor at Harper & Brothers and upon his recommendation, Penfield was hired as a part-time editor and illustrator by the then art director, Fredrick B. Schell. By 1891, Penfield was working for the publishing house full-time and a year later replaced Schell as art director. His first major work for Harper's monthly magazine was published on the cover of the April 1893 issue and was an immediate success. Penfield’s uniquely bold style complimented Harper & Brothers’ burgeoning focus on more modern content for a younger audience and he grew quickly within the company, illustrating for many of Harper’s various publishing divisions.
While Penfield’s tenure at Harper & Brothers accounted for only about a third of his career, he produced his most recognizable and coveted designs there. Unlike anything in American advertising at that time, Penfield's uncomplicated and graphic designs were easily read by viewers and lent themselves well to the printing processes of the day. Just as celebrated artists like Alphonse Mucha, Henri de Toulouse-Lautrec, and Théophile Steinlen were influential in defining the popular, Art Nouveau graphic style at the end of the 19th century in Europe, Penfield's simple yet engaging style similarly set the tone for commercial design in America.
After retiring from Harper & Brothers in 1901, Penfield became a freelance illustrator, contributing to major publications such as The Saturday Evening Post, Collier’s, Life Magazine, Scribner’s, Literary Digest, The Country Gentleman, and Metropolitan Magazine. Simultaneously, he held a teaching position at the Art Students League of New York and was a member of a number of arts organizations including the Society of Illustrators, where he was later elected president. Penfield died in 1925 at the age of 58 while recovering from a fall that had damaged his spine a year previous. Despite a premature end to his career, his unparalleled artistic approach and extraordinary contribution to American illustration came to define the Golden Age of American poster art and his visual style remains as timeless and collectible today as it was over 100 years ago.
Auction Results Edward Penfield
