Author Archives: Margaret Chodos-Irvine

Plates of Flowers and Fruit

I am traveling this week, so I have pre-arranged a post for you. It’s actually a borrowed post from a friend of mine – Jennifer Kennard. Jennifer is an artist, graphic designer, book maker, book lover, book collector, and lovely person. She has a blog called Letterology, from which this post was taken. I chose it because I have been using stencils in my work lately. And it is still Winter and the flowers and fruit make me think of warmer, brighter seasons.

The 19th Century Book Plates of D.M. Dewey

Title page for one of D.M. Dewey’s specimen books. S

Dellon Marcus Dewey (1819-1889) was a bookseller, publisher and art patron in Rochester, NY before he became one of the 19th century’s most enterprising businessmen, printing and selling colorfully stenciled book plates of botanical illustrations “for the practical use of nurserymen, in selling their stock.” He employed teams of immigrant artists and colorists in the mid-1850s to paint and stencil several thousand botanical plates of various ornamentals, trees, shrubs, fruits and vegetables. By 1859, Dewey’s price list contained some 275 different plates. Once completed, the colorful book plates were assembled into handsome octavo catalogs and portfolios customized for the traveling salesmen known as “plant peddlers” of the floral and nursery trade. Dewey was not the first to devise this practice of providing botanical illustrations to sell seeds and plants, but he was the first to expand the process by relying on the time-honored stencil production process which came to be known as “theorem paintings.” Prior to the development of chromolithography, this multi-layered stencil process was the most striking and effective method of producing colored multiples at the time. Although quite rare now, Deweys’ polychromic watercolor artworks can still be found in complete book sets, and continue to be valued for their exquisite beauty. This 1875 plate book of 91 images shown below was sold on eBay a year ago for about $400. S

To produce each stenciled image, artists would use transparent watercolors to build up areas of tone and color. Stems, tendrils and small details such as the small, red paint strokes seen on the peach above, were painted freehand for added effect on many images. The stencils were most likely made of paper, but brass could easily have been used and would have endured much longer. Paint and inks were carefully applied through these stencils using a brush or dauber of sorts—creating vivid color tones and values as layers were added. A similar process to this, called porchoir, was later popularized in Europe in the early 20th century, however that process relied upon a printed “key plate” to which stenciled color was applied. Greater detail of the “theorem” stencil and brush process can be seen in the grape images below. 

Source In the wake of Dewey’s successful enterprise, the nursery trade flourished in Rochester, NY, bringing with it many imitators of botanical plate books. Skilled craftsman and printers soon followed and by 1871, the first chromolithographic company opened in Rochester, which forever changed the landscape of the nursery business in the US.

Small newspaper ad and advertising envelope for D.M. Dewey’s “colored fruit and flower plates.”S

This 1872 D.M. Dewey plate book shown above appears to be stenciled plates. Later editions, such as this handsome edition below were entirely printed with chromolithographed plates. This stenciled book happens to be in reasonably nice shape and still available here for a rather large sum. I just have my eye on that sweet grape arbor below.

By 1881, Dewey’s company offered over 2400 varieties of book plates of plant specimens. In the wake of his successful enterprise, the nursery trade flourished in Rochester, NY, bringing with it many imitators of his botanical plate books. Skilled craftsman and printers soon followed and by 1871, the first chromolithographic company opened in Rochester, which forever changed the landscape of the nursery business in the US. Confident that chromolithography was the solution to “a greater variety and better plates,” Dewey consolidated his nursery supply business with the Rochester Lithographing and Printing Company in 1888. One year later he died, “but the demand for plate books did not” according to Tim Hensley of the Urban Homestead, and “no less than a dozen Rochester printing companies would follow in his wake.” Hensley points out that each printer had a style uniquely their own as they each employed their own team of individual artists. Some particularly stood out such as the work of the Stecher Lithographing Company (1887-1936) who went on to produce posters, labels and trade cards for seed companies. The Stecher plates of the Salway peach and Le Conte Pear below from Hensley’s site, Rood Remarks, are so exquisite, I find it difficult to believe they are chromoliths. I’m fairly certain they are a combination of chromo and stencil artwork of the tendrils and leaves. The last image of the Greensboro peach printed by the Vrendenburg & Company of Rochester is most certainly a chromolith plate. They are all mighty fine fruit plates. 

Posted by Jennifer Kennard at 6/03/2014

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Library Love: The Final Episode

Last week Seattle hosted the 2019 Midwinter American Library Association Meeting. Thousands and thousands of happy librarians arrived to be impressed by the latest books, info-gadgets, and literary comers.

Seattle loves its librarians. We are home to the company that created the librarian action figure, as well as the librarian it’s based on, Nancy Pearl (hey it’s not a stereotype, it’s Nancy!).

But, what town wouldn’t want to host thousands of happy librarians?

I just finished reading Susan Orlean’s The Library Book, which I highly recommend. Reading it gave me hope in the form of the endurance of libraries. They persist all over the world. They survive through war, poverty, fire, technological revolutions.

Going to the library with her mother when Orlean was young left a lasting impression on her. Reading her descriptions of those visits reminded me of going to the Hunt Library in Fullerton with my parents when I was little. The Hunt Library left a lasting impression on me. I could still lead you today to the Dr. Seuss shelf in the picture book section (it was always a mess), and the Greek Mythology books.

The Hunt Library was Norton Simon’s gift to the city of Fullerton. It opened in 1962 next to the Hunt Foods Corporation campus where Simon had made the fortune that funded his art collection. The library was designed by William Pereira, the architect known for the Transamerica Pyramid in San Francisco and the Disneyland Hotel.

Simon exhibited works from his art collection on the Hunt grounds and in the library. I grew up taking it for granted that all libraries had Giacometti sculptures outside and Picasso prints inside (I liked the Giacometti, but I was not impressed by Picasso’s later period works).

In 1964 Simon proposed replacing the library with an art museum, but Fullerton officials turned him down. He went to Pasadena and opened the Norton Simon Museum there instead.

While still on the high of renewed Library Love from reading The Library Book, and believing that libraries will live forever, I learned that The Hunt Library closed its doors in 2013.

What?

Lack of funding. Poor location. Concerns over a growing number of transients.

It is hard to compare my memories of the library with the recent photos.

Last November the library was designated a local historical landmark. It will not be torn down. It may be sold.

Where does a library go when it dies? It becomes a church. Or maybe a homeless shelter. Or a community center. Or an art museum. But it will not be my library ever again.

Dear Hunt Library. You will always be the library closest to my heart, even if you have ceased to exist.

Out with the old…

…in with the new!

Once a year, I like to send a few cards out to clients and people I don’t see very often. I make cards for the Winter season or the New Year.

This year, I made two. This was the first one.

To me it says, The old year is over. Time to take out the garbage. But perhaps it is too negative a sentiment.

So I made another one that is perhaps a bit more optimistic.

You can pick whichever you prefer!

Happy New Year and Best Wishes for less garbage and more good things to come in 2019!

Materials used: gouache, colored pencils, rubber stamp and ink, makeup sponge, makeup brushes, and sparkly eyeshadow powder on paper.

Gratitude from A to Z

Last night, while waiting for the feast to begin, a friend told me about a solution one family found for the discomfort of reciting what they were thankful for at the Thanksgiving dinner table each year — they began a tradition of going round the table giving gratitudes in alphabetical order, A to Z.

This sounded like such a good idea to me that I am going to begin it here, and I invite you to add gratitudes as well, beginning with the next letter in the alphabet from the one before. Let’s see if we can make it all the way to Z…

I am grateful for Adaptability, Avocados, and All of you who take the time to read our posts.

Will you Be next?…

Duvoisin II

Last month I warned I might revisit Roger Duvoisin’s work in picture books. So, here are two more of his books from my shelves: Donkey-donkey (1940) and Petunia (1950).

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Unlike A Child’s Garden of Verses, these two books are authored by Duvoisin as well. His writing style matches his illustrations – light and delightful.

The themes are similar – animals wanting to better themselves somehow and making themselves and others suffer for it. Silly animals.

Using animals to upstage human folly is common in literature. Duvoisin’s squiggly images help us laugh at the situations such foolish creatures get themselves into.

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Donkey-donkey is a happy donkey until he starts comparing himself to Pat, the horse.

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He becomes dissatisfied with his big donkey ears and gets advice from everyone else at the farm on what to do about it.

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As we expect, he comes around to accepting his ears and going back to his happy donkey life.

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Petunia is literally a silly goose. She finds a book and has heard that ‘He who owns Books and loves them is wise,’ so she picks up the book and carries it around with her, feeling very wise indeed.

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Petunia’s pride in her new-found wisdom leads her to mis-advise all the other animals at the farm.

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This causes misery and mayhem.

She is too busy being wise to notice until the situation becomes explosive.

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At this point she notices the book has something in it, namely pages, with words on them that she cannot read. Now she understands, ‘It was not enough to carry wisdom under my wing, I must put it in my mind an in my heart. and to do that I must learn to read.”

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Be true to yourself.

Wisdom only comes from books if you use them correctly.

If a goose can learn to read, so can you.

Good lessons at any age.

 

 

A Child’s Garden of Images by Roger Duvoisin

Well, while I am waiting for production to continue on Where Lily Isn’t (the designer at the publishing house just left, so the search is on for a replacement, *sigh*…) I will entertain both you and myself by looking through the books in my kid lit collection.

Today I pulled out a book that was a gift from a friend – A Child’s Garden of Verses by Robert Louis Stevenson, illustrated by Roger Duvoisin (The Heritage Press: 1944). Lucky for me she had two in her collection.

I have a few books illustrated by Duvoisin (you may know his work from his 1950 book Petunia). His drawings are joyful and loose, sometimes on the edge of silly. His illustrations are from the era when colored images were prepared for printing by separating them manually into multiple plates (as would be done in traditional printmaking). The plates were then printed in individual ink tones, usually including a yellow, a red, a blue or green, and black. The results create an appealingly limited palette of graphic shapes and patterns. I am a fan!

Below from ‘Foreign Lands’:

I love how the girl’s feet exit the top of the image in ‘The Swing’, although the flattened perspective makes me worry a bit for her safety on the way down:

‘The Cow’: Perhaps a precursor to Petunia?

‘Travel’:

‘My Ship And I’:

The illustrations for the book aren’t all in color. There are many lovely black and white images, such as this for ‘The Little Land’:

and this for ‘My Shadow”:

Also for ‘Little Land’:R Duvoisin-Childs Garden of Verses-The Little Land 2

‘Autumn Fires’: Do we not feel the loss of summer looming?

‘To Minnie’: That is some rug!

For all you picture book folk – ‘Picture Books In Winter’:R Duvoisin-Childs Garden of Verses-Picture Books In Winter

And finally, a peek under the jacket cover:

Perhaps for my next post I will show more of Duvoisin’s work. It is worth exploring further.

Wild Things

I have another book to recommend: Wild Things: The Joy of Reading Children’s Literature As An Adult, by  Bruce Handy. I checked it out from the library after reading this piece in the New Yorker. I haven’t quite finished it yet, but it has been an enjoyable summer read.

Bruce Handy is about my age, a parent, white, and born on the West Coast. Perhaps having those things in common is why I can relate so easily to his nostalgic trip through classic American kid lit. He broke his reading teeth on Dr. Seuss (for him it was Ten Apples Up on Top!, for me it was One Fish, Two Fish, Red Fish, Blue Fish). Like me, he remembers the first time he was read Where The Wild Things Are by Maurice Sendak. He also received, as a new parent, multiple copies of Goodnight Moon. So his trip down a literary Memory Lane takes me back as well. He revisits many of the books I read as a child, but also several that I didn’t. He also explores the whys and hows that have made these books into classics.

I often wonder about the lives of the authors I read, but even in this age of Wikipedia, who has the time? Handy has done that for us. He finds the stories behind the stories – from Margaret Wise Brown and her taste for luxury, to the  “philosophical conversion” of C. S. Lewis and Theodore Geisel’s anarchic response to Dick and Jane – with humor and insight and many personal asides (maybe too many? but hey, I’m guilty of the same fondness for parentheses).

To be clear, Wild Things is not an anthology. It is an appreciation of the books and the authors who start us on the path (a yellow brick road, perhaps?) to a lifelong love of books. The most famous ones, at least.

I will warn you of one frustration I have with the book; there are no pictures apart from some spot drawings for the chapter headings by Seo Kim. When Handy describes an illustration, I want to see what he’s talking about, but I imagine that would have been expensive to produce and problematic with all those copyrights to contend with.

I am almost to the last chapter, which is appropriately titled “The End: Dead Pets, Dead Grandparents, and the Glory of Everything.” Since I have been working on a book about the loss of a pet, it should be especially interesting. After I’m done, maybe I’ll go reread some of my favorite kid lit!

 

 

A Tribute to Ursula K. Le Guin

On June 13, I attended an event in Portland honoring Ursula K. Le Guin. The tribute was organized by the Le Guin family and hosted by Literary Arts. Speakers included writers and artists whom Ursula had worked with, as well as others she had influenced, inspired, and befriended. The spoken tributes alternated with photos and video selections from “Worlds of Ursula K. Le Guin”, a feature documentary film by Arwen Curry.

My feelings about Ursula have always been held close in my heart and not something I often talk about. But there, in that auditorium, I felt I was one of many whose hearts Ursula had touched. It was bittersweet, remembering her and missing her.

The event was filmed and is available to watch on the Literary Arts website.

Ursula K. Le Guin was a master of the art of words, but she also was a brilliant  thinker and an outspoken advocate for artists, free speech, and humanity. My admiration for her has only deepened as I have continued to read her writings in the months since her death. I have almost finished her Conversations On Writing with David Naimon, which I recommend if you want to hear more of her thoughts about her craft. It nicely captures Ursula’s relaxed style of speaking and her humor.

I am also about a quarter of the way through Lavinia, in which Ursula gives eloquent voice to a female character from Vergil’s Aeneid.

‘I know who I was, I can tell you who I may have been, but I am now, only in this line of words I write…”

I look forward to reading more of Ursula’s works that I have not yet read, and then maybe I will re-read some of my old favorites of hers that I read years ago. It is a good way to continue to pay tribute to her, and to keep hearing her voice and learning from her.

Creative Writing 101

My youngest daughter just finished her first year of a Creative Writing/English Literature degree at Concordia University in Montreal, Quebec. She returned to Seattle this week and I was interested to hear what they teach about the craft of writing these days, so I invited her to take my spot writing this week’s post on Books Around The Table.

Introducing Clare Chodos-Irvine

I only have ¼ of a university degree, but after nine months of studying literature and attending writing workshops, this is what I’ve learned about writing:

  1. 90% of the time, avoid adverbs. I have a classmate who, throughout the five submissions I made over the course of a year, never failed to circle my unnecessary adverbs. I didn’t realize that I used so many until he pointed it out. More often than not, an image, sentence or metaphor is stronger without the use of an adverb. Usually, it stops you from repeating yourself. There’s no reason to say, “She ran quickly,” because if she was running, one would hope it would be quick.
  2. Classmates and teachers are there to help you. I’m lucky to have had professors in my first year who were constantly supportive. My classmates are all so talented, and having a group of people to bounce creative ideas off of is extremely helpful, even if you’re not a creative writing student.
  3. Pretty much anything can inspire you. I took a survey of British literature from the beginning of time until 1660, and although the course didn’t leave me a lot of time to read for pleasure, I was inspired by the alliteration in “Sir Gawain and the Green Knight” and the complicated rhyme scheme in Beowulf. I read things I would never have read otherwise, thanks to my teachers’ thoughtful planning of the course reading lists. A story I have been sitting on for three years went from a fantasy/romance piece to a feminist werewolf story thanks to Angela Carter’s “The Company of Wolves” , and my fiction workshop classmates. I was inspired by my classmates constantly. They often found meaning in my writing that I hadn’t discovered myself. For example, they saw a woman chipping paint off her wall as an extended metaphor reflecting her decaying relationship. Being surrounded by a large group of creative individuals is electrifying because, for the first time in my life, the majority of the people I am around share my passion for writing.
  4. There is no such thing as children’s writing. If a children’s book or a YA novel is well written, anyone can enjoy it. This was emphasized frequently by my fiction professor, and is proven true by writers like Daniel Handler (AKA Lemony Snicket) or Roald Dahl.
  5. Don’t get rid of anything. I discovered this year that some of my pieces that were unsuccessful as short stories work very well as poems. I disliked poetry until I turned sixteen. Even after I liked reading poetry, I didn’t think I should write poetry. My poems sounded too confessional. But when I rewrote some of my short stories as poems, they worked much better. Fiction can work as poetry, and vice versa.

Lastly, I learned that creativity takes work, and it hurts and it’s scary to put a piece of yourself out there. But as intimidating as writing is, it’s what I want to do for the rest of my life. I am eager to learn as much as I can about the past, present and future of the craft. I can’t wait to earn the next ¾ of my degree.

 

Easter Egg Hunt!

From Wikipedia:

An Easter egg is an intentional inside joke, hidden message or image, or secret feature of a work (often found in a computer program, video game, or DVD/Blu-ray Disc menu screen). The name is used to evoke the idea of a traditional Easter egg hunt.

I had never heard the term before last week, when Books Around The Table met for our monthly lunch and critique meeting.

I was showing the images I have done so far for Where Lily Isn’t and pointed out a not-so-hidden classic dog book reference (can you find it?) when Bonny Becker brought up the term.

M Chodos-Irvine-Where Lily Isn't pg 10 final

I’ve put Easter Eggs into my illustrations before. In my first picture book – BUZZ, by Janet Wong – I included my eldest daughter’s birthday on one spread,

BUZZ car page

And both my daughters appear in the parade led by the main character at the end of Apple Pie 4th of July, also by Wong.

M Chodos-Irvine Apple Pie 4th of July final spread

On a more somber note, many years ago I heard Maurice Sendak talk about his work for Dear Mili, a lesser known Grimm story about a young child’s journey during wartime. Sendak’s imagery for this book is full of visual clues of his thoughts and influences (perhaps Easter Egg isn’t an appropriate term in this case), including images of Jewish children in Nazi Europe during the Holocaust, the face of Mozart, references to Van Gogh, and many more that I can no longer remember. It is a masterwork, IMHO.

M Sendak- Dear Mili spread 2M Sendak- Dear Mili spread 1

I believe Easter Eggs are common in picture books. Do you know of any? Have you hidden them in your own work? Do tell! It’s the perfect time of year for an Easter Egg hunt!