Charles H. Woodbury, Society of Painters in Water Color of Holland from Les Maîtres de L'Affiche, 1898, Original Lithograph

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Charles h. Woodbury (1864-1940)

society of painters in water color of holland

year of ideation: 1895
year of printing: 1898
… Read more Charles h. Woodbury (1864-1940)

society of painters in water color of holland

year of ideation: 1895
year of printing: 1898
lithograph on wove paper
publisher: chaix

signed in the plate, lower left

from the famous collection "les maîtres de l'affiche"
issue # 28, plate #112, march 1898

bottom left:
les maîtres de l'affiche pl. 112
imprimerie chaix
(encres lorilleux & cie.)

bottom right, blind stamp of publisher / edition

excellent condition

literature:
"the complete masters of the poster", edited by stanley appelbaum, dover, new york, 1990, p. 112
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about the collection "les maîtres de l'affiche"

les maîtres de l'affiche (the masters of the poster) is one of the most prestigious and influential art publications in history its 256 color plates have preserved for each succeeding generation a wide-ranging selection of outstanding posters from the turn of the century, when that popular art form had reached its first peak.

the earliest printed posters were chiefly typographic, with relatively few illustrated examples. But in the second half of the nineteenth century, when all types of commercial products, including printed matter, were being aesthetically upgraded, largely thanks to various arts-and-crafts movements, serious artists such as manet began to see new possibilities in the poster medium. It was especially jules chéret (1836-1932) whose unique combination of artistic, technical and entrepreneurial talents was to pave the way for a true poster industry. After chéret opened his own print shop in paris in 1866, his work continued to inspire numerous emulators in europe and america. From 1881 on, his shop operated as a branch of the large chaix firm (imprimerie chaix)

by the 1890s the streets of every great metropolis were enlivened by large, colourful posters.
this chaix publication, les maîtres de l'affiche, was issued as separate numbered sheets measuring 40 x 29 cm. Every month for 60 months, from december 1895 through november 1900, subscribers received a wrapper containing four consecutively numbered poster. On 16 occasions the monthly wrapper also contained a bonus plate, a specially created art lithograph. Jules chéret, artistic director of chaix and father of the modern poster, emerged with the lion's share of the plates, one chéret being included in each monthly issue of four, and seven of the 16 unnumbered bonus plates.

of the 97 artists represented in les maîtres de l'affiche, some were preeminent painters and printmakers at various stages of their careers: toulouse-lautrec, denis, bonnard, vallotton, puvis de chavannes. Others were famous illustrators and cartoonists of the period, still well known to art collectors and bibliophiles. Forain, caran d'ache, ibels, willette, boutet de monvel, léandre. But there were also all those whose names say "poster," the conquering pioneers of the new medium. Chéret himself, mucha, steinlen, the beggarstaffs, grasset, penfield, parrish, bradley, hardy the list could go on and on.
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about the artist

charles herbert woodbury (1864 – 1940) was an american marine painter.
born in lynn, ma, while an undergraduate at mit he became a regular exhibitor at, and at 19 the youngest member of, the boston art club. In 1886, after graduating from the massachusetts institute of technology with degree in mechanical engineering, woodbury had great success painting up the new england coast and in the towns and beaches of nova scotia and exhibiting the results. From january to june 1891 he was a pupil of the académie julian in paris, after which he went to holland, where he studied the techniques of the modern dutch painters. Upon his return to new england he settled in boston for his winter studio and spent his summers in the small fishing village of perkins cove in ogunquit, maine; there he founded one of the most successful of the summer art colony schools that even survived his death. In 1928, woodbury (along with gertrude fiske[2] and a group of other area-artists) founded the ogunquit art association.

woodbury was one of the most sought-after teachers of his generation, having begun teaching on a regular basis while a freshman at m.i.t. Ironically, he had little formal training himself other than a few months of classes at the academy julian in paris. Like winslow homer, another new england painter with an affinity for summers in maine, he preferred "to work out his salvation with little help from others in his profession".

he maintained a strong and consistent vision in his more than fifty years of professional life and became a master of compositions of the coast and sea. Woodbury’s many on-the-spot sketches and etchings produce a sense of motion through quick, sure-handed strokes. Seeing and understanding movement was fundamental to his art and teaching, and is reflected in his own maxim: "paint in verbs, not nouns." in the words of his son david, woodbury "\.painted what he saw, satisfied that what he saw was really there, all in proper relationship, checked and rechecked by endless reference to the real world".

woodbury engaged in over 100 solo exhibitions throughout his career, and was included in all of the major invitational and juried shows throughout the country. His work may be found currently in the art institute of chicago, the museum of fine arts, boston, and new york’s metropolitan museum of art among many others.
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important:

. The listing is for the original lithograph.
. The cover of the issue by jules chéret is shown for reference.
this piece has an attribution mark,
i am sure that it is completely authentic and take full responsibility for any authenticity
issues arising from misattribution See less