Mabel Lucie Attwell
| Mabel Lucie Attwell | |
|---|---|
| Born |
Mabel Lucie Attwell 4 June 1879 Mile End, London, England |
| Died | 5 November 1964 Fowey, Cornwall |
| Nationality | British |
| Education | Coopers' Company Regent Street Art School Heatherley Art School |
| Occupation | Author and illustrator |
| Years active | 1900–1962 |
| Employer | Various publishers |
| Known for | Illustrations depicting children; pottery designs |
| Notable work |
Peter Pan (1921) Children's books Ephemera (postcards, greeting cards, etc.) |
| Spouse(s) | Harold Cecil Earnshaw (d. 1937) |
| Children | One daughter, Marjorie Two sons |
| Parent(s) | Augustus and Emily Ann Attwell |
Mabel Lucie Attwell (4 June 1879 – 5 November 1964) was a British illustrator. She was known for her cute, nostalgic drawings of children, based on her daughter, Peggy. Her drawings are featured on many postcards, advertisements, posters, books and figurines. In 1908, she married painter and illustrator Harold Cecil Earnshaw and became the mother of one daughter and two sons.
Attwell was born in Mile End, London, 4 June 1879, the sixth child of butcher Augustus Attwell and his wife Emily Ann. She was educated privately and at the Coopers' Company School and at the Regent Street school. She studied at Heatherley's and Saint Martin's School of Art, and but left to develop her own interest in imaginary subjects, disliking the emphasis on still-life drawing and classical subjects.
After she sold work to the Tatler and Bystander, she was taken on by the agents Francis and Mills, leading to a long and consistently successful career. In 1908, she married painter and illustrator Harold Cecil Earnshaw (d. 1937) with whom she had a daughter, Marjorie, and two sons. She died at her home in Fowey, Cornwall, in 1964, after which her business was carried on by her daughter, Marjorie.
Mabel Lucie Attwell's initial career was founded on magazine illustration, which she continued throughout her life, but around 1900 she began receiving commissions for book illustration, notably for W & R Chambers and the Raphael House Library of Gift Books. Her early works were somewhat derivative of the style of artists such as her friend Hilda Cowham, Jessie Willcox Smith, John Hassall, and the Heath Robinson brothers. From 1914 onwards, she developed her trademark style of sentimentalised rotund cuddly infants, which became ubiquitous across a wide range of markets: cards, calendars, nursery equipment and pictures, crockery and dolls.
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