Scrambled Egg Decorating 101

In this DIY culinary clip narrated by Joe Emminger, artist Julie Paschkis dishes up a delectable hand lettered recipe for a perfectly scrambled egg. One serving guaranteed to please the whole family! 

Disclaimer : No eggs were harmed in the making of this video.

The Venetian Paper Reliquaries of Patty Grazini

Rosalba Carriera (1673-1757), an artist who painted the portraits of all the nobility throughout Europe. 

She tragically lost her eyesight at the end of her life. This is one of the portraits she painted. Below is a tool box and stand constructed entirely of paper which might have held her brushes.

I've always thought of my friend, Patty Grazini as someone who would be equally comfortable living in the Victorian or Edwardian era, but as nobility, as she would be revered for her rarified talents. She works tirelessly all year long to craft a group of paper sculptures based upon a theme—often of real events or real people. This year, she again has a new exhibition of exquisite paper constructions currently on display until December 21st at the Curtis Steiner Gallery in Seattle's Ballard neighborhood. Her latest new works are inspired by historic reliquaries, or sacred relics made to honor the dearly departed. 

     Patty explains the theme of her new group of paper sculptures by saying, "I wanted to create memorials that were reminiscent of the reliquaries that I saw while traveling in Italy over the years."

     For this new group, Patty chose to memorialize ten notable women from Venice "who lived in an age of extreme decadence and beauty—during the long decline of the Venetian Empire in the 16th to the 19th centuries." The ten women she chose to honor with her own imagined paper reliquaries were noted for their contributions to the arts and culture of Venice, yet their legacies have been nearly obscured by history. Each piece is accompanied by a small handmade book with a quote by these remarkable women, or one of their contemporaries.

     I believe this must now be Patty's tenth annual exhibit at the Curtis Steiner Gallery and the fifth time I've reported on her annual exhibitions in this space, and each of her shows have been impressively staged like a walk through history, fabricated entirely of paper. The stories she tells of people are true—and whose lives she characterizes in period paper garments, with personal possessions, and furnishings—each produced in exquisite detail by twisting, embossing, folding, decorating and manipulating beautiful found papers and ephemera. Magnifying glasses are definitely encouraged. All of these artworks seen here, and more are for sale, and yes, they are made entirely of paper. You can learn more about Patty and her work at this link, and read some of my past posts of Patty's paper productions here. 

Caterina Cornaro (1454-1510).
Through and arranged marriage, she became the last queen of Cypress.

Beads, baubles, jewels, and stones are mounted in metal-like settings, all made of various found, decorated, embossed, distressed and marbled papers and ephemera which Patty has collected from her travels and from friends.

Elena Cornaro Piscopia (1646-1684), was the first woman
in the world to earn a doctorate degree. Here, Patty Grazini features her quilled pen,
inkwell and eyeglasses as a tribute to her life's work. 

  

  

Gallery owner, Curtis Steiner is an exemplary artist himself.
Not only is he a curator, painter, calligrapher, jewelry designer, and sculptor,
but he also constructs the most imaginative window displays of paper each year. This year's display features a paper garland of large, gold leaves made of folded text pages above a display of
his hand lettered holiday cards. The white tramp art table below this is made of old
wooden thread spools—another sight to behold.

Daily Doodles

Do More of What Make you Happy, the delightful daily doodles of self-taught Tokyo artist, Mogu Takahashi. This sentimental platitude is a nice reminder for all of us to attempt to embrace throughout the year. I hope Takahashi's daily doodles give her as much joy as they do me. See so much more of Takahashi's daily doodles and sketchbooks here. And look for a wee bit more of me in this space in weeks ahead...

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

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

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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.

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. 

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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."

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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. 

Typographic Trade Cards

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