Comments on: Antique Christmas cards are vintage collectables http://writeantiques.com/antique-christmas-cards-are-vintage-collectables/ Helping You Find Right Antiques Fri, 10 Feb 2012 16:13:50 +0000 hourly 1 http://wordpress.org/?v=3.3.1 By: Christopher Proudlove http://writeantiques.com/antique-christmas-cards-are-vintage-collectables/comment-page-1/#comment-182 Christopher Proudlove Wed, 21 May 2008 14:28:53 +0000 http://www.writeantiques.com/antique-christmas-cards-are-vintage-collectables/#comment-182 Excellent and informative comment. Thanks Jon for taking the time and trouble and thanks also for your interest. Chris Excellent and informative comment. Thanks Jon for taking the time and trouble and thanks also for your interest.
Chris

]]> By: Jon Hatfield http://writeantiques.com/antique-christmas-cards-are-vintage-collectables/comment-page-1/#comment-181 Jon Hatfield Wed, 21 May 2008 14:02:50 +0000 http://www.writeantiques.com/antique-christmas-cards-are-vintage-collectables/#comment-181 The diecut card girl feeding boy chef berries is by Harriett M. Bennett, premier UK children artist of the 1880s and 1890s/early artwork from 1887-92 Nister-Dutton children books & earlier Hildesheimer&Faulkner/Whitney booklets featured notably with Stroefer and Nister early postcards & anonymous publisher Euro postcards--later artwork publication unknown but may have been the chief unidentified UK children artist with the U.S. "Winsch" postcards (speculative attribution/equally speculative that Obpacher was the Winsch publisher) & with another unknown German art publisher 1908-11 U.S. postcard group, artwork featured with an earlier unknown-publisher Euro postcard group, mostly noted for early Ellen Clapsaddle publication (speculatively from Edgar Schmidt, Dresden). Harriett M. Bennett is cited by Adolph Tuck in a 1921 London Evening Times interview as one of the two 100 pound prizes in Hildesheimer's 1881 art competition (W. Hagelberg, Berlin, German art printer at the time & later noted art publisher of Victorian greeting cards was one of the 3 judges) and the 25 pound prize in Tuck's 1885(?) art competition. Queen Victoria so admired the Bennett entry in that competition, Tuck stated, that she wrote the artist a personal note of congratulations & thereafter insisted on a Bennett card yearly for her own use. Adolph Tuck cites her as "still painting" in his interview, although, as noted, publication of later artwork is unknown. In extensiveness & number of years in international publication and in quality & amount of known children artwork, Bennett ranks among the 3 most important Victorian children artists with Frances Brundage and Ellen Clapsaddle. Astonishingly the name of this most important children artist was unknown to postcard collectors as late as 2 years ago, known only to collectors of children books. We tend to think of Victorian children art as merely cute children & manifestations of Victorian sentimentality, but the phenomenon of children art (the first time a civilization chose children as the central subject of its popular art) is the pictorial record of a fundamental social revolution in the status of women and children accomplished in the Victorian period, a social revolution in many ways more basic in Western Civilization than the ideological revolutionary movements & geopolitical developments that preoccupy the attention of historians. The diecut card girl feeding boy chef berries is by Harriett M. Bennett, premier UK children artist of the 1880s and 1890s/early artwork from 1887-92 Nister-Dutton children books & earlier Hildesheimer&Faulkner/Whitney booklets featured notably with Stroefer and Nister early postcards & anonymous publisher Euro postcards–later artwork publication unknown but may have been the chief unidentified UK children artist with the U.S. “Winsch” postcards (speculative attribution/equally speculative that Obpacher was the Winsch publisher) & with another unknown German art publisher 1908-11 U.S. postcard group, artwork featured with an earlier unknown-publisher Euro postcard group, mostly noted for early Ellen Clapsaddle publication (speculatively from Edgar Schmidt, Dresden). Harriett M. Bennett is cited by Adolph Tuck in a 1921 London Evening Times interview as one of the two 100 pound prizes in Hildesheimer’s 1881 art competition (W. Hagelberg, Berlin, German art printer at the time & later noted art publisher of Victorian greeting cards was one of the 3 judges) and the 25 pound prize in Tuck’s 1885(?) art competition. Queen Victoria so admired the Bennett entry in that competition, Tuck stated, that she wrote the artist a personal note of congratulations & thereafter insisted on a Bennett card yearly for her own use. Adolph Tuck cites her as “still painting” in his interview, although, as noted, publication of later artwork is unknown. In extensiveness & number of years in international publication and in quality & amount of known children artwork, Bennett ranks among the 3 most important Victorian children artists with Frances Brundage and Ellen Clapsaddle. Astonishingly the name of this most important children artist was unknown to postcard collectors as late as 2 years ago, known only to collectors of children books.

We tend to think of Victorian children art as merely cute children & manifestations of Victorian sentimentality, but the phenomenon of children art (the first time a civilization chose children as the central subject of its popular art) is the pictorial record of a fundamental social revolution in the status of women and children accomplished in the Victorian period, a social revolution in many ways more basic in Western Civilization than the ideological revolutionary movements & geopolitical developments that preoccupy the attention of historians.

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