Pochoir, the French word for stencil, is a method of coloring illustrations for books, journals, and fine art prints. Pochoir printing was at its peak in commercial publishing in the early twentieth-century. At that time there may have been over thirty studios in Paris alone. The manual and time-consuming process of pochoir is best utilized in creating limited edition prints displaying sensuous textures and luxurious colors.
Founded in 1830 by Louis A. Godey, Godey's Lady's Book, was one of the most popular and long-lived women's magazines. Each issue included fiction, non-fiction, poetry, advice on interior decorating, fashion and domestic arts, instructions for needlework and handicrafts, and music. The magazine evolved into an important literary magazine and published articles, book reviews, etc. by many notable nineteenth-century writers including Edgar Allan Poe.
"I know of no other example of landscape art as beautiful as this where such a large part of the population pass daily and enjoy it."1 Frederick Law Olmsted Jr., of the Olmsted Brothers landscape architecture firm, is of course referring to the Fine Arts Garden. The garden fills the approach to the Cleveland Museum of Art from Euclid Avenue, and is bordered on the east and west by East Boulevard and Martin Luther King Boulevard, respectively. The Fine Arts Garden was formally presented to the city of Cleveland by the Garden Club at a dedication ceremony on July 23, 1928.
Within the collection of the Ingalls Library, there are thousands of books bound in the traditional manner, used for hundreds of years, with a text block sewn or glued together and attached to a soft or hard cover. New technologies in the 20th century have produced books bound in thoroughly untraditional ways.
The advent of photolithography popularized the buying, selling, and sending of postcards in the late nineteenth and early twentieth centuries. David Prochaska writes that they were sold at kiosks, from public parks and exhibitions to restaurants and even on passenger trains. He notes that there were cases of individuals sending up to 50 postcards a day!1 Postcard photographers and publishers intended to "cover the world" with image collections from the mundane to the exotic, constituting a voyage of discovery of places and peoples.
Thomas Bewick was born at Cherryburn House, Eltringham, Northumberland in August of 1753, the eldest of eight children. Early on he demonstrated a talent for art by drawing on the hearthstones of his family home and filling the margins of his school books with pencil sketches of the surrounding flora and fauna. At the age of 14 he was apprenticed to Newcastle engraver Ralph Beilby. Most of the work of the shop was in metal engraving, but occasionally there was work in woodcuts, especially for children's books.
Kate Greenaway, English artist and book illustrator, was born in London on March 17, 1846. She was the daughter of John Greenaway, a well-known draughtsman and engraver on wood and Elizabeth Catherine Jones, a seamstress and children's clothing designer. Her early education included life drawing and watercolor painting classes at Heatherleys in Chelsea and at the Slade School of Fine Art. She began to exhibit her drawings and watercolors in 1868 at London's Dudley Gallery, and her first published illustrations appeared in such magazines as Little Folks.
The Ingalls Library Rare Book Collection includes a small, but exquisitely printed, group of books on Sèvres porcelain. Founded in 1740 as the Vincennes Porcelain Factory, the company moved to Sèvres, France, in 1756 and produced both soft-paste and hard-paste porcelain. As the official porcelain manufacturer to the crown, the company designed objects for use by the royal family and other aristocrats.
With sadness we note the passing of artist and designer Viktor Schreckengost. His contributions to Cleveland and the world are innumerable. We offer here a glimpse of his work, as reflected in the Cleveland Museum of Art and Ingalls Library collections.
Over the last twenty years, new technologies in fine arts publishing expanded creative options and changed the way journals could be issued. Whereas traditional journals consist of text and/or reproductions, contemporary journals may also have a unique physical shape, include added materials, or have significant web content and interaction. Both individual artists and publishers have taken advantage of the new possibilities and cleverly used creativity and technology with stimulating results.