By Joanna Carey
Illustrated by Eric Carle

Introduction by H. Nichols B. Clark.
"A Visit to Eric Carle's Studio" by Joanna Carey.
Catalog Design by Rita Marshall.
21 Illustrations: Daytime Scenes, Nighttime Scenes
Paper, 32 pages
2,500 copies, First Edition, First Impression.

From "Acknowledgments," by H. Nichols B. Clark:
"This exhibition represents the culmination of Eric and Barbara Carle's vision to launch a museum celebrating the art of the picture book. But it also constitutes the inaugural of the first of many exhibits devoted to Eric's work. Whatever the display of work by guest artists, the visitor will almost always be assured of seeing some aspect of Eric's creative genius. This is a legacy that will endure for generations to come. To Eric and Barbara we owe an inexpressible debt of gratitude."

By Maurice Sendak, Leonard S. Marcus
Illustrated by Maurice Sendak

Introduction by H. Nichols B. Clark.
"A Conversation with Maurice Sendak" conducted by Leonard S. Marcus.
Catalog Design by Rita Marshall.
28 Illustrations: Inside scenes, Outside scenes.
Paper, 32 pages.
2,500 copies, First Edition, First Impression.

From "Introduction," by H. Nichols B. Clark:
"It is fitting that the work of Maurice Sendak comprises the inaugural exhibit of The Eric Carle Museum of Picture Book Art. While an acknowledged master of the genre, his creative talent extends well beyond the picture book. Sendak has garnered high esteem in the realm of costume and set design for opera...As we honor picture book art and demonstrate its substance and sophistication, Sendak's industrious career permits us to look at the material from a broad art-historical vantage point. We have chosen to view his work through the lens of interior scenes and landscapes."

By Jane Bayard Curley
Illustrated by Nancy Ekholm Burkert

"A Deep and Delicate Vision" by Jane Bayard Curley.
Catalog Design by Rita Marshall.
24 Illustrations, Paper, 32 pages.
1,000 copies, First Edition.

From "Acknowledgments," by H. Nichols B. Clark:
"Because Nancy Ekholm Burkert's work is so thoughtful and deliberate, she is not a prolific artist. Whether creating an easel painting, a print, or an illustration for a book, Nancy brings to her task the highest aesthetic measure. No detail is too insignificant to warrant intense scrutiny, and her exacting standards reflect the meticulous research she brings to any endeavor. One need only survey the research materials and preliminary drawings she assembled in producing Valentine & Orson to fully appreciate the methodical regimen to which she adheres. As Jane Curley points out in her thoughtful essay, Nancy scours the full spectrum of art history to infuse the requisite image with the appropriate resonance."

By Ann Beneduce
Illustrated by Misumasa Anno

"Adventures in Imagination" by Ann Beneduce.
Catalog Design by Rita Marshall.
24 Illustrations, Paper, 32 pages.
1,000 copies, First Edition.

From "Acknowledgments," by H. Nichols B. Clark:
"The Eric Carle Museum of Picture Book Art is honored to host the first major exhibition of Mitsumasa Anno in America. Anno's art is an intriguing interplay of Western and Asian aesthetic principles. In works for such books as Topsy-Turvies and Upside-Downers or his independent art, one encounters myriad art-historical references ranging from M.C. Escher and Jacob van Ruisdael to Leonardo da Vinci. In The Tale of the Heike, of course, Anno pays homage to the venerable tradition of Japanese scroll painting. Anno is omnivorous in his visual appetite, yet there is always a subtlety and grace-and, yes, wit-embedded in his work."

By Eric Carle, Frances Foster
Illustrated by Leo Lionni

"An Appreciation" by Eric Carle.
"Remembering Leo Lionni" by Frances Foster.
Catalog Design by Rita Marshall.
32 Illustrations, Paper, 32 pages.
1,000 copies, First Edition.

From "Acknowledgments," by H. Nichols B. Clark:
"Among my first decisions as director was to pursue an exhibition of Leo Lionni's work. This was before I understood how much Lionni meant to Eric Carle. I had long been captivated by the elegant design, magical draftsmanship, and universal messages of his children's books. Happily, we are able to offer a glimpse into his other equally distinguished creative outlets: his drawing and sculpture. From art director for Fortune magazine to exhibiting with Surrealists such as Joan Mir and André Masson, Lionni achieved the pinnacle of whatever he pursued."

By Michael Patrick Hearn
Illustrated by Eduard Krimmer, Dmitrii Mitrokhin, Sergei Chekhonin, Vera Ermolaeva, Olga and Galena Chichagova, Ivan Bilibin, Georgii Narbut, El Lissitzky, Vladimir Tatlin, Vladimir Tambi, Vladimir Lebedev, Natan Altman, Aleksei Pakhomov, Alexandre Benois

"The Picture Book Revolution" by Michael Patrick Hearn.
Catalog Design by Rita Marshall.
32 Ilustrations, Paper, 32 pages.
1,000 copies, First Edition.

From "Acknowledgments," by H. Nichols B. Clark:
"We are privileged to host the exhibition of this extraordinary material, surveying Russian children's book illustration from the very end of the nineteenth century to the outbreak of World War II. It is all the more appropriate, since one of the central figures, Vladimir Lebedev, was so influential to Eric Carle's training as a graphic designer. In Russian terms, the exhibition covers the last years of rule under the tsars to the zenith of Stalin's ruthless power. As guest curator Michael Patrick Hearn observes, the beginning of this era marked a turning point in Russian cultural history when books and art began to be created and produced indigenously. Mindful of international currents, Russian book design embraced foreign sources while bringing its own aesthetic into play."

By Jane Bayard Curley, Jeanne Steig, Joanna Cotler
Illustrated by William Steig

"A Life of Creative Energy" by Jane Bayard Curley.
"What My Husband Saw" by Jeanne Steig.
"The Last Interview with Bill Steig" by Joanna Cotler.
Catalog Design by Rita Marshall.
32 Illustrations, Paper, 48 pages.
1,000 copies, First Edition.

From "Acknowledgments," by H. Nichols B. Clark:
"One of my personal mandates for this fledgling institution has been to try and honor the senior and distinguished talents of picture book art during their lifetime. When I first approached Holly McGhee, William Steig's literary agent, about giving him an exhibition, she delicately raised the question of Bill's mortality - he was a mere ninety-four at the time. I responded that his advanced age made it all the more urgent; I felt very strongly that Steig should be recognized for his remarkable body of work while he was still alive, and that if fate intervened, at least he would have been cognizant of this recognition. And so it came to pass - the exhibition, indeed, stands as a memorial tribute. But how lucky we were to have had him for such a long and productive career! The fact that he did not embark on children's books until the age of sixty-one gives us all hope for keeping our own career paths vibrant. And it is espscially meaningful that we can also show a selection of Jeanne Steig's delightfully whimsical sculptures as a three-dimensional adjunct to her husbands work. They were a wonderful team in so many ways."

By Peter Neumeyer
Illustrated by Margot Zemach, Kaethe Zemach

"The Zemach Legacy" by Peter Zeumeyer.
Catalog Design by Rita Marshall.
24 Illustrations, Paper, 32 pages.
1,000 copies, First Edition.

From "Acknowledgments," by H. Nichols B. Clark:
"When I first encountered the work of Margot Zemach - specifically the drawing for Duffy and the Devil: A Cornish Tale - I marveled at the vibrant combination of line and color that was redolent of the 18th-century caricaturist Thomas Rowlandson. Zemach's work also reverberates with the work of such American contemporaries as Maurice Sendak and William Steig, and the fluctuating line weight of her pencil recalls the draftsmanship of Howard Pyle at his most energetic. Throughout, Zemach's art is informed by an irrepressible wit."

By Jane Bayard Curley
Illustrated by Chris Van Allsburg

"Through a Glass, Darkly" by Jane Bayard Curley.
Catalog Design by Rita Marshall.
23 Illustrations, Paper, 32 pages.
1,000 copies, First Edition.

From "Acknowledgments," by H. Nichols B. Clark:
"Like his mentor Maurice Sendak, Chris Van Allsburg proves through his highly imaginative work that children enjoy material that may prove unsettling to adults. In Jumanji (1981), for example, the monkeys pillaging the kitchen are not the lovable animals typified by Curious George.Throughout his oeuvre, Van Allsburg propels his reader in and out of reality and, as Jane Curley points out in her essay, looks to earlier traditions for inspiration. His admiration for the German Romantics - early and late - combine the hermetic stillness of Caspar David Friedrich with Max Klinger's penchant for the bizarre to produce what the artist himself terms a "gentle surrealism." Van Allsburg's extraordinary draftsmanship and expressive use of shadows and and facial expression provide a convincing hyper reality, while a pervasive suspended animation reinforces an equally affecting metaphysical quality. That his books have been eagerly embraced by the film industry is no surprise and simply magnifies the enjoyment."

By Leonard S. Marcus
Illustrated by Clement Hurd, Leonard Weisgard, Esphyr Slobodkina, Wanda Gag, Jean Charlot, Garth Williams, Barbara Cooney, Marc Simont, Ylla

"The Picture Book Made New" by Leonard S. Marcus.
Catalog Design by Rita Marshall.
25 Illustrations, Paper, 32 pages.
1,000 copies, First Edition.

From "Acknowledgments," by H. Nichols B. Clark:
"Margaret Wise Brown launched her writing career at a time when a rejection of the fanciful and romantic in children's literature was reinforced by a belief that the genre should reflect a new reality embodied in the ascendant urban and industrial society of America. Consequently, a significant aspect of Brown's literary output was grounded in the "here and now," and she gravitated to artists who shard similar modernist tendencies. To be sure, many of her stories were rooted in the imaginary, and a good fit between narrative and image was always paramount."

By Nikki Giovanni, Darwin Henderson
Illustrated by Ashley Bryan

"When Rainbows Laugh" by Nikki Giovanni.
"Painting, Poetry and Puppetry" by Darwin Henderson.
Catalog Design by Rita Marshall.
20 Illustrations, Paper, 32 pages.
1,000 copies, First Edition.

From "Acknowledgments," by H. Nichols B. Clark:
"Anyone who has met Ashley Bryan will attest that their day has been immeasurably brightened by this encounter. He has touched young and old in so many ways, and his ability to get audiences to chant, stomp, and sing poetry is truly legendary. Ashley's art is the embodiment of a gesamkunstwerk - where the image, the word, and the music of the word all come to the fore."

By Nancy Willard
Illustrated by Alice and Martin Provensen

"The Well-Tempered Book" by Nancy Willard.
Catalog Design by Rita Marshall.
23 Illustrations, Paper, 32 pages.
1,000 copies, First Edition.

From "Acknowledgments" by H. Nichols B. Clark.
"We are delighted to present the exhibition, Picturing the World: The Art of Alice and Martin Provensen, and we recognize that much of what is on view constitutes a seamless collaboration between Alice and her late husband Martin. During a project, they passed works back and forth, so that their hands are virtually inseparable. Since Martin's death in 1987, Alice has continued to create wonderful books. They cover a broad spectrum of subject matter, crossing time and space. Her independent books retain the affinity for a flow and sequence of image both she and Martin learned in the animation studios during the 1940s. Of equal importance, their books forged an ongoing passion for untutored naive art - from Edward Hicks to Douanier Rousseau - that reflect the simple, rural life the Provensens embraced in the 1950s."

By Lolly Robinson
Illustrated by Beatrix Potter

"Rabbits and Roots" by Lolly Robinson.
15 Illustrations and Photographs, Paper, 16 pages.

From "Acknowledgements" by H. Nichols B. Clark:
"The Eric Carle Museum of Picture Book Art had barely opened its doors when the Beatrix Potter Society invited us to host their Twenty-fifth Anniversary meeting. We were delighted and not a little honored by this overture. In conjunction with the conference, we proposed organizing a small exhibition of works by Potter, and the Society enthusiastically embraced this idea."

By Truusje Vrooland-Löb
Illustrated by Fiep Westendorp, Dick Bruna, Max Velthuijs, Friso Henstra, Jan Jutte, Sylvia Weve, Ceseli Josephus Jitta, Yvonne Jagtenberg, Hans de Beer, Dieter and Ingrid Schubert, Thé Tjong-Khing, Annemarie Van Haeringen, Philip Hopman

"Baker's Dozen: A Delectable Offering of Dutch Illustration" by Truusje Vrooland-Löb.
Catalog design by Rita Marshall.
19 Illustrations, Paper, 32 pages.
1,000 copies, First Edition.

From "Acknowledgments" by H. Nichols B. Clark:
"Dutch art - especially the Golden Age of Rembrandt and Vermeer - has held great appeal to Americans since the early 19th century. Americans, like the 17th century Dutch, were concerned with forging a national identity. Landscape, portraiture, genre, and still-life helped achieve this goal visually. Each of these artistic objectives was steeped in narrative, and viewers became attuned to reading stories visually."

"Along the Yellow Brick Road: The Changing Look of Oz" by Michael Patrick Hearn
Catalog Design by Rita Marshall
18 illustrations, Paper, 32 pages
1,000 copies, First Edition

From "Acknowledgments" by H. Nichols B. Clark:
"2006 marks the 150th anniversary of L. Frank Baum's birth. To celebrate this milestone, The Eric Carle Museum has organized an exhibition of art from the Oz books. Although beloved for his series of Oz books, he is most famous for the first, The Wonderful Wizard of Oz (1900). As the centerpiece of the exhibition, it offers interpretations from W.W. Denslow's illustrations for the first edition down to recent times. As well as those of Denslow, works by his successor John R. Neill anchor the early examples while more recent interpretations include Barry Moser, Charles Santore, Lisbeth Zwerger, Robert Sabuda, Trina Schart Hyman, Chris Van Allsburg, Paul Zelinsky, and Eric Carle."

By Joanna Carey
Illustrated by Quentin Blake

"An Urge to Draw" by Joanna Carey.
Catalog design by Rita Marshall.
23 Illustrations, Paper, 32 pages.
1,000 copies, First Edition.

From "Acknowledgments" by H. Nichols B. Clark:
"We are delighted to present Quentin Blake: The Theater of the Page, a selection of work from the career of this distinguished artist. In Great Britain, Blake is a national treasure; in America, he is best known for his devishly exquisite illustrations for Roald Dahl's children's books. But there is so much more, and this exhibition, while concentrating on his children's book illustration, hopes to heighten awareness of Blake's broad range of talent."

By Samuel C. Morse
Illustrated by Allen Say

Allen Say: Between Two Cultures by Samuel C.Morse, Guest Curator
Catalog design by Rita Marshall
21 illustrations, Paper, 32 pages
1,000 copies, First Edition

From Acknowledgments by H. Nichols B. Clark: "To honor Allen Say's 70th birthday, the Eric Carle Museum of Picture Book Art has organized a major retrospective of his career. His illustrations for books comprise the bulk of the exhibition, but it also contains examples of his commercial photography and oil painting to underscore the full measure of his creative talent, as well as a unifying aesthetic."

By Tony DiTerlizzi and Jim Bisell, Guest Curator
Illustrated by Tony DiTerlizzi

Spiderwick: From Page to Screen
The Eric Carle Museum of Picture Book Art, September 22, 2007 - January 27, 2008
24 pages
"Belief is Suspended; Magic Ensues" by Jim Bissell
"Igniting the Imagination" by Tony DiTerlizzi

"This showcase highlights the powerful force of imagination. From old fairy tales illuminated by the likes of Arthur Rackham to the endless retellings of stories like the one Holly [Black] and I have spun, this force continues with the multitude of artists that made this film. They have sketched, sculpted, constructed, rendered, sewed, photographed and breathed life into the very same creatures that have entertained and enchanted us for centuries. I'd like to think that this collection of work just might inspire the next generation of fantastical creators. I know the 13-year-old in me can't wait to see what's next." - Tony DiTerlizzi, "Igniting the Imagination"

By Leonard S. Marcus, Jane Bayard Curley, and Maroline Ward, Guest Curators

Children Should Be Seen: The Image of the Child in American Picture-Book Art
114 pages, 83 illustrations
Catalog design by Rita Marshall
1,000 copies, First Edition

From "Acknowledgments" by H. Nichols B. Clark, Director:
"Children Should be Seen brings together eighty-three works of original illustration art by eighty-four artists in a comprehensive survey of the best American picture-book art for the years 1997-2007. The exhibition is organized around the theme of the changing image of the child in the American picture book and thus in contemporary American culture. A major goal of the exhibition is to prompt lively discussion on the tone and texture and very quality of life of the present generation of American children, and to consider the role that illustrated books can play in a culture that is increasingly saturated with post-industrial-age new media."

By Michael Patrick Hearn
Illustrated by Arnold Lobel

Seeking a State of Grace: The Art of Arnold Lobel
March 15, 2008 - June 17, 2008
Catalog design by Rita Marshall.
21 illustrations, Paper, 32 pages.
1,000 copies, First Edition, Printed in Italy.

From "a little world at the end of my pencil:" The Visual and Verbal Art of Arnold Lobel by Michael Patrick Hearn, Guest Curator.
"'To be making books for children allows me the freedom and pleasures of being an adult, and at the same time I can always partake in a kind of childlike wonder,' [Lobel] explained. 'To be making books for children is to be in a sort of state of grace.'"

By Kendra Daniel, Virginia O' Hara

"Imagination and craft are defining characteristics of important art and valued by collectors of art in any form. In focusing their collection on images of fantasy for children, the Daniels have gathered highly imaginative works by many of the best illustrators who worked during an extraordinarily rich period in art and publishing." from Preface by James H. Duff, Director, Brandywine River Museum and H. Nichols B. Clark, Founding Director, The Eric Carle Museum of Picture Book Art.

By Lolly Robinson and Zora Charles

Over Rainbows and Down Rabbit Holes: The Art of Children's Books
Santa Barbara Museum of Art: March 15 - June 15, 2008
The Eric Carle Museum of Art: November 11, 2008 - March 8, 2009
Catalog design by Rita Marshall.
64 pages, 46 illustrations. First Edition, Printed in Italy.
Tumbling into Wonderland by Zora Charles
Travels Through Time and Genre by Lolly Robinson, Guest Curator

From Tumbling into Wonderland by Zora Charles
"Literacy should not only include the ability to translate squiggles into letters and words, it should connect us to a universe larger than the one we inhabit, to our shared humanity and to the natural world. And nothing does that better than a well-crafted picture book."

Set of six catalogs from the Museum's first exhibits, including:

• The World of Eric Carle
• The Art of Maurice Sendak: Inside and Out
• Nancy Ekholm Burkert: The Art of Illustration
• The Art of Mitsumasa Anno: Bridging Cultures
• Leo Lionni: A Passion for Creativity
• From the Silver Age to Stalin: Russian Children's Book Illustration in the Sasha Lurye Collection

Set of six catalogs from the Museum's latest exhibits, including:

• Heart and Humor: The Picture Book Art of William Steig
• Dancing Line and Merry Color: The Worlds of Margot and Kaethe Zemach
• The Mysteries of Chris Van Allsburg
• The Picture Book Made New: Margaret Wise Brown and Her Illustrators
• Painter and Poet: The Wonderful World of Ashley Bryan
• Picturing the World: The Art of Alice and Martin Provensen