de Grummond Collection

McCain Library and Archives
University Libraries
University of Southern Mississippi



ROBERT QUACKENBUSH PAPERS

Collection Number
Collection Dates
Collection Volume
DG1097
1965-1993
24.80 cu.ft. (51 boxes)

Biographical Sketch | Scope & Content | Related Collections | Series & Subseries | Box Inventory

Provenance

Materials donated by Robert Quackenbush between 1968 and 1993. See Supplementary contributions at end of finding aid.

Restrictions

Non-circulating; available for research.

Copyright

This collection is protected by the Copyright Law of the United States (Title 17, U. S. Code). Reproductions can be made only if they are to be used for "private study, scholarship, or research." It is the user's responsibility to verify copyright ownership and to obtain all necessary permissions prior to the reproduction, publication, or other use of any portion of these materials, other than that noted above.


Biographical Sketch

Born Robert Mead Quackenbush on July 23, 1929 in Hollywood, California, his Dutch name literally means "duck in the bush." He illustrates and writes picture books, song books, fiction and nonfiction. He has lectured internationally to children and operates the Robert Quackenbush Studio in New York City.

Quackenbush is perhaps best known for his mystery series and humorous biographies. Detective Mole was the first of his sleuths, followed by Miss Mallard (the "ducktective"), Piet Potter, Pete Pack Rat, Sherlock Chick, and others. His earliest publications included a number of American folksong books, such as "Old Macdonald," "Go Tell Aunt Rhody," and "Clementine." When his young son, Piet, tried repeatedly to nose-dive off the couch, thinking he could fly, Quackenbush became inspired to research and write a biography of the Wright Brothers. This led to the publication of at least sixteen more humorous biographies of such famous figures as Mark Twain, Alexander Graham Bell, Andrew Jackson, Davy Crockett, Annie Oakley, Thomas Edison, Jules Verne, Charles Darwin, and Nellie Bly.

Like many illustrators, Quackenbush first began illustrating books written by others, including works by notable authors such as Oscar Wilde, Hans Christian Andersen, Stephen Crane, Nathaniel Hawthorne and Herman Melville, as well as contemporary children's authors like Charlotte Zolotow, Walter Dean Myers, Natalie Savage Carlson and Jane Yolen. After a decade of illustrating others' works, Quackenbush began writing his own books in the early 1970s. In the course of his career he has illustrated more than one hundred of his own books as well as another sixty for other authors.

As a boy in Phoenix, Arizona, Quackenbush liked to draw, read and perform library research and often decorated his room and windows with his own paintings. A high school art teacher exerted a great influence upon him, and immediately upon graduating from high school Quackenbush tried his luck as an artist in New York City but was unsuccessful. On his way home, however, he accepted a job as a mail boy at an Omaha advertising agency, which was to lead him to an advertising career. With the financial assistance of relatives and a summer job at a lumber mill, he attended the Art Center of Design in Los Angeles and received the Bachelor of Arts degree in 1956 after a two-year interruption for military service.

From 1956 to 1961, Quackenbush worked in the United States and Stockholm, Sweden as an advertising art director for Scandinavian Airlines System. It was in Sweden that he developed a love for woodcuts and etching. In 1961, upon selling his first illustrations to Sports Illustrated and the New York Hilton, he became a full-time free-lance illustrator, painter and writer, at first specializing in fine-art printmaking. Among the earliest children's books which he illustrated were The Steadfast Tin Soldier, Poems for Galloping, Poems for Counting, and The Selfish Giant, all published during the early 1960s. In 1968 he opened the Robert Quackenbush Gallery in New York City where he teaches adults and children to write and to draw.

In 1981 Quackenbush received the Edgar Allan Poe Special Award for best juvenile mystery for Detective Mole and the Halloween Mystery. Three of his books have been Junior Literary Guild selections. In 1963 he won an American Institute of Graphic Arts (AIGA) Fifty Best Books award for Poems for Galloping, a book of Mother Goose rhymes. He won Society of Illustrators citations in 1967 for If I Drove a Truck and 1969 for Little Hans (The Devoted Friend) and The Pilot. Three times he has won the American Flag Institute Award for outstanding contributions to children's literature.

Quackenbush resides in New York with his wife Marjorie, whom he met and married while researching Old Macdonald Had a Farm. Many of his books are dedicated to his son, Piet, and written "for Piet's sake." He attributes much of his inspiration to Piet and to the children whom he meets at his studio and while on tour. These tours have taken him all over the United States and to many foreign countries, including Brazil, Argentina, and Saudi Arabia. His works have been exhibited at the Whitney Museum, the Philadelphia Academy of Fine Arts and the Smithsonian.

The artist studies motion pictures to gain inspiration from the visual composition, mood and flow in design. He first visualizes the manuscript as a published work, as though he were browsing it in a bookstore. He then rereads the manuscript and makes pencil notations and thumbnail sketches of his spontaneous impressions. He believes each story calls for an individual technique and resists labeling of his "style," though some critics have referred to his art as "sunny." Quackenbush experiments to determine which medium is most appropriate to a work. Although he often works in woodcuts, he also uses brush, pen, and pencil. Quackenbush draws from memory without the aid of models. Picture material is sometimes supplied by the authors, and he also searches for photographic material at the New York Public Library. "Even so," he has said, "I am not usually directly influenced by this material, and only use it to study, in order to mentally place myself in the environment of the stories. Once I have done this, I put the material aside and begin to work at the drawing board, drawing from memory--and feelings."

When he picked up the cutting tools for the first time and began to cut into the block of wood, Quackenbush told an interviewer that he felt a surge of joy and was so truly excited that he found it difficult to stop working. The dimensional nature of the woodcut appealed to him, he said. Some of his prints have bold, wide black strokes while others are very delicate. He makes woodcut illustrations in the following manner: He first makes a preliminary drawing (or watercolor sketch if the illustration is to be in color), which he transfers to acetate sheets, using black tempera. He transfers his drawing to acetate sheets, using black tempera. (For color woodcuts, he makes a separate acetate for each color block.) The surface of the woodblock is dampened, and the completed acetate is flipped over onto it, thus transferring the black tempera lines to the woodblock. When dry the blocks are ready for cutting. The only cutting tools he uses are a small v-shaped gouge and a small knife, helpful in incising fine lines. He paints all his blocks by hand because he can control the tonal values this way. For this step his tools are also simple: a roller to apply the standard printing inks, paper, and a Japanese rice spoon (instead of a Baren), flat and smooth, with which he rubs the reverse surface of the paper on the freshly inked block. Despite its fragility, he uses oriental paper almost exclusively for its transparent quality.

Sources:


Scope and Content

The Quackenbush Papers have been divided into six series: biographical material, correspondence, photographs, awards, books, sound recordings and miscellaneous. Biographical material includes eleven undated items of promotional literature about the author/artist. Selected correspondence from 1968 to 1991 between Robert Quackenbush and the de Grummond Collection comprises the correspondence series; one item relates to an estate sale which included Quackenbush art. The correspondence includes original and printed greeting cards designed by Quackenbush and is arranged chronologically. A few items of correspondence have been retained with book titles. Ten photographs of Quackenbush, pictured solely, with his wife and son, and with others, are included in the photographs series, as well as six photographs of Quackenbush's artwork and an accompanying inventory, probably from an exhibit. The awards series is composed of a mounted plaque of the Edgar Allan Poe Award which Quackenbush received for Detective Mole and the Halloween Mystery.

The bulk of the collection is comprised of original materials for 114 Quackenbush titles, ranging from preliminary sketches for some titles to finished art, color separations and proofs for others. Most titles are represented by three-dimensional book dummies with full-color art; these dummies are so well developed that they often appear quite similar to the published books. The book titles are ordered alphabetically, with original materials for each title arranged in the probable order of creation. In several instances, the author/artist has identified the order of creation as well as the medium used; in the absence of this information, the processor has imposed an order and attempted to identify the medium.

The sound recordings series includes one audio and two video recordings. One video recording, entitled "How to Write a Mystery" was the pilot for a proposed 16-part children's program developed with Children's Television International, entitled Dear Mr. Quackenbush, and includes a reading of Stairway to Doom; the other records a 1988 school visit in Newfield, New York. The audiocassette, titled "On Tour with Robert Quackenbush," includes a 1985 dramatic reading by Quackenbush of Stairway to Doom and records excerpts from a school program in which Quackenbush tells stories about Henry the Duck, Pete Pack Rat and Horatio.

The miscellaneous series includes a typescript and illustrations for two unidentified titles, a color woodcut titled "The Letter," and color separations and printed card for the 1971 de Grummond Christmas card. The typescript, "Miss Mallard Saves the Day," may have been published in slightly different form under another title. The illustrations, titled "The Strange Sled Race," were published in a Macmillan basal reader of undetermined title. Quackenbush's popular mystery series are well exemplified in the collection. The Miss Mallard Mystery series is represented by book dummies and/or color separations for the titles Bicycle to Treachery, Cable Car to Catastrophe, Dig to Disaster, Express Train to Trouble, Rickshaw to Horror, Stage Door to Terror, Surfboard to Peril, Taxi to Intrigue, and Texas Trail to Calamity. Stairway to Doom is represented by dramatic readings on the audio and video cassettes, "How to Write a Mystery" and "On Tour with Robert Quackenbush." The collection also holds original materials for the popular Detective Mole series, including manuscripts, typescripts and a dummy for the original Detective Mole; a manuscript and dummy for Detective Mole and the Secret Clues; a dummy and color separations for Detective Mole and the Tip-Top Mystery; a dummy and scratchboard illustrations for Detective Mole and the Seashore Mystery; a typescript, galleys, dummy and paste-ups for Detective Mole and the Circus Mystery; and a typescript and galleys for Detective Mole and the Halloween Mystery, all published between 1976 and 1981. The collection holds dummies for two of the Piet Potter mystery series: Piet Potter Returns and Piet Potter's First Case. Other sleuths represented in the Quackenbush Papers are Pete Pack Rat, Sherlock Chick and Sheriff Sally Gopher.

Another genre well represented in the collection is biography. The collection holds original materials for Quackenbush's humorous biographies of Charles Darwin, Robert H. Goddard, Theodore Roosevelt, Luther Burbank, Emmett Kelly, Sr., Robert Goodyear, Peter Stuyvesant, James Watt and Robert Fulton, Andrew Jackson, Jules Verne and Annie Oakley. All of these titles are represented by book dummies, some also by color separations.

Songbooks included in the collection are Old Macdonald Had a Farm, Pop! Goes the Weasel and Yankee Doodle..., Go Tell Aunt Rhody..., She'll Be Comin' Round the Mountain, Skip to My Lou, and There'll Be a Hot Time in the Old Town Tonight..., all of which are represented by book dummies. For Skip to My Lou, holdings show the creation of the book through various stages--storyboard, costume sketches, typescript, galleys, dummy, color separations, and press sheet. There'll be a Hot Time in the Old Town Tonight... holdings also demonstrate several stages of book production: the dummy, typescript, galleys, color separations and a promotional flyer. The collection includes typescripts and color separations for The Holiday Song Book, as well as preliminary notes.

During the late 1960s and early 1970s Quackenbush illustrated a number of picture books by Miriam Young, for which the collection holds dummies and some color separations, including If I Drove a Bus, If I Drove a Car, If I Drove a Tractor, If I Drove a Train, If I Drove a Truck, If I Rode a Dinosaur, If I Rode a Horse, If I Rode an Elephant, and If I Sailed a Boat, as well as Beware the Polar Bear! Safety on the Ice and Billy and Milly. The collection also contains dummies, colored scratchboard illustrations, paste-ups, color separations, linoleum blocks, and/or proofs for Eleanor Clymer's Horatio titles, including the original Horatio, Leave Horatio Alone, Horatio's Birthday, Horatio Goes to the Country, and Horatio Solves a Mystery and also Clymer's Engine Number Seven. In addition to Young's and Clymer's works, Quackenbush's illustrations of works by Walter Dean Myers, Georgess McHargue, Julian May, Harry S. George, Mary Kay Phelan, Eve Bunting, Ann Cooke, Rosemary Pendery, F. N. Monjo, Patricia Beatty, Lilian Moore, John Stewart, Mason Locke Weems, Margaretha Shemin, Natalie Donna, Berniece Freschet, Robin McKown, George Mendoza, John F. Waters, Janette Sebring Lowrey, and others are included in the collection.

Quackenbush also illustrated several classics, which are represented in the collection, including Oscar Wilde's The Selfish Giant and Little Hans (The Devoted Friend), Stephen Crane's The Open Boat and Three Other Stories, and Herman Melville's Billy Budd, Foretopman. For The Selfish Giant, the collection includes a complete set of the watercolor sketches for the first plan of the book and four watercolor sketches from the second plan, indicating the evolution of the color scheme and page format. For Little Hans, the collection has the book dummy. For The Open Boat the collection includes a woodcut illustration, and for Billy Budd the collection has ink and graphite illustrations.

Additionally, the collection holds original materials for a number of other titles, listed below. The Robert Quackenbush Papers are significant in that the collection provides a good representation of the body of work of an author/artist almost from his entrance into the field of children's literature and spanning several decades, reflecting both changes in the author/artist's style and trends in children's publishing. Several titles, including Skip to My Lou and Robert Quackenbush's Treasury of Humor are excellent titles to demonstrate how Quackenbush creates his works. The original works also reflect the variety of techniques and mediums Quackenbush uses, including woodblocks and woodcuts, linoleum blocks and linoleum cuts, etchings, ink, colored ink, watercolor, tempera, and acrylics.



Related Collection

The Natalie Savage Carlson Papers (DG0152) contain Carlson's research and travel notes, research material and a typescript for Befana's Gift, which was illustrated by Robert Quackenbush. The de Grummond Collection also holds the Georgess McHargue Papers (DG0644), the Berniece Fleschet Papers (DG0350) and the Robin McKown Papers (DG0647), which might contain related material.




Series and Subseries


A. Biographical Material (undated)

B. Correspondence (1968-1991)

C. Photographs (1974-1977, undated)

D. Awards ([1981])

E. Books (1965-1990)

F. Sound Recordings (1985-1988, undated)

G. Miscellaneous (1981, undated)


Box Inventory


    Box/Folder

A. Biographical Material

1/1 Newsletters, leaflets, flyers and news releases, undated, 11 items.

B. Correspondence

1/2 To and from the de Grummond Collection, 1968-1991, undated, 77 items. See also individual book titles.

C. Photographs

1/3 Of Quackenbush; of Quackenbush and family; of Quackenbush at University of Southern Mississippi; of Quackenbush paintings with typescript inventory from Kramer Gallery 10/10/1980, ca. 1974-1977, undated, 17 items.

D. Awards

1/4 Mounted plaque, Edgar Allan Poe Award for Detective Mole and the Halloween Mystery, awarded by the Mystery Writers of America, [1981].

F. Books

ALONG CAME THE MODEL T: HOW HENRY FORD PUT THE WORLD ON WHEELSwritten and illustrated by Robert Quackenbush (New York: Parents Magazine, 1978) See: Notes included in manuscript of Detective Mole and the Secret Clues. ANIMAL CRACKS written and illustrated by Robert Quackenbush (New York: Lothrop, Lee and Shepard, 1975). 2/1 Dummy with watercolor illustrations and typeset text, edited. 2/2 Typescript, edited and marked for typesetter, pp. 1-18. 2/3 Galleys, 13 pp. THE BAKER AND THE BASILISK by Georgess McHargue, illustrated by Robert Quackenbush (Indianapolis: Bobbs-Merrill, 1970). 2/4 Dummy with watercolor illustrations and holograph text. THE BEAGLE AND MR. FLYCATCHER: A STORY OF CHARLES DARWIN written and illustrated by Robert Quackenbush (Englewood Cliffs, NJ: Prentice-Hall, 1983). 2/5 Dummy with watercolor illustrations and typewritten text, edited. 3/1 - 3 Color separations, 3/1 pp. 2/3 (front endpapers), 4/5 (title page), 6/7 copyright/dedication), 8/9, 10/11, 12/13; 3/2 14/15, 16/17, 18/19. 20/21, 24/25, 26/27; 3/3 28/29, 30/31, 32/33, 34/35, 36, back endpapers, dust jacket. BEWARE THE POLAR BEAR!: SAFETY ON THE ICE by Miriam Young, illustrated by Robert Quackenbush (New York: Lothrop, Lee and Shepard, 1970). 3/4 Dummy with marker and opaque watercolor illustrations and typescript and typeset text, edited. 3/5-4/3 Color separations, 3/5 pp. 40/1 (title page), 2/3, 4/5, 6/7, 8/9, 10/11, 12/13; 4/1 14/15, 16/17, 18/19, 20/21, 22/23, 24/25, 26/27; 4/2 28/29, 30/31, 32/33, 34/35, 36/37, 38/39, cover or dust jacket. 4/3 Proof, unbound, in dust jacket. BICYCLE TO TREACHERY written and illustrated by Robert Quackenbush (Englewood Cliffs, NJ: Prentice-Hall, 1985). 4/4 Dummy with watercolor illustrations and typescript text, edited. BILLY AND MILLY by Miriam Young, illustrated by Robert Quackenbush (New York: Lothrop, Lee and Shepard, [1968]). 4/5 Dummy with pastel illustrations and typescript text, edited. BILLY BUDD, FORETOPMAN by Herman Melville, illustrated by Robert Quackenbush (New York: F. Watts, 1968). 4/6 Illustrations, marker and graphite, pp. [12, 38, 43, 49, 59, 67, 72/73, 83, 90, 99, 104, 112/113, 119]. THE BLACK PEARL AND THE GHOST, OR ONE MYSTERY AFTER ANOTHER by Walter Dean Myers, illustrated by Robert Quackenbush (New York: Viking Press, 1980). 5/1 Dummy with watercolor illustrations and typeset text, edited, with artist's alternative title, "Aramy and Dibble's Most Famous Cases." 5/2 - 5 Color separations, 5/2 pp. 40/1 (title page), 2/3 (contents/half-title page), 4/5, 6/7, 8/9; 5/3 10/11, 12/13, 14/15, 16/17, 18/19; 5/4 20/21, 22/23, 24/25, 26/27, 28/29; 5/5 30/31, 32/33, 34/35, 36/37, 38/39, cover. BLUE RIVER by Julian May, illustrated by Robert Quackenbush (New York: Holiday House, 1971). 5/6 Dummy with watercolor illustrations and text, edited. THE BOY WHO DREAMED OF ROCKETS: HOW ROBERT H. GODDARD BECAME THE FATHER OF THE SPACE AGE, written and illustrated by Robert Quackenbush (New York: Parent's Magazine Press, 1978). 6/1 Dummy with watercolor illustrations and typescript text, edited. THE BOY WHO WAITED FOR SANTA CLAUS, story and pictures by Robert Quackenbush (New York: Franklin Watts, 1981). 6/2 - 4 Color separations, 6/2 [32/1 (title page), 2/3 (copyright/dedication), 4/5, 6/7, 8/9, 10/11; 6/3 12/13, 14/15, 16/17, 18/19, 20/21, 22/23; 6/4 24/25, 26/27, 28/29, 30/31, cover]. CABLE CAR TO CATASTROPHE written and illustrated by Robert Quackenbush (Englewood Cliffs, NJ: Prentice-Hall, 1982). 6/5 Dummy with watercolor illustrations and typescript text paste-ups, edited. CALLING DOCTOR QUACK story and pictures by Robert Quackenbush (New York: Lothrop, Lee and Shepard, 1978). 6/6 Dummy with watercolor illustrations and typescript text, edited. CHUCK LENDS A PAW written and illustrated by Robert Quackenbush (New York: Clarion, 1986). 6/7 Advance proof, bound, in dust jacket. Enclosure: Memorandum from Allyn Johnson, [Clarion Books], to [de Grummond Collection], 22 January 1986. CITY TRUCKS written and illustrated by Robert Quackenbush (Chicago: Albert Whitman, 1981). 7/1 Dummy with watercolor illustrations and holograph text, edited on typescript inserts. Dummy with watercolor illustrations and holograph and typescript text, edited on typescript inserts. 7/2 - 3 Color separations, 7/2 [40/1 (title page), 2 (copyright)/3, 4/5, 6/7, 8/9, 10/11; 7/3 12/13, 14/15, 16/17, 18/19, 20/21, 22/23, 24/25; 7/4 32/33, 34/35, 36/37, 38/39]. 7/5 Dust jacket material: graphite and watercolor illustration and final proof, 2 items. DEMO OF 70TH STREET by Harry S. George, illustrated by Robert Quackenbush (New York: Henry Z. Walck, 1971). 7/6 Illustrations, ink and wash, facing title page, pp. 2, 14, 23, 33, 43, 48, 54, 58, 73, 76, 88, 95, 105, 116, 126, 138, chapter headings. Dust jacket material: Illustration and color separation, 2 items. DETECTIVE MOLE written and illustrated by Robert Quackenbush (New York: Lothrop, Lee and Shepard, 1976). 7/7 Manuscript, first draft, in tablet. Typescript, "Detective Mole, Private Eye," first draft, edited, 23 pp. irregularly paginated. Typescript, "second version," revised and edited, 26 pp. irregularly paginated. 7/8 Typescript, revised, edited and marked for typesetter, "for production 6/27/75," 24 pp. Typescript photocopy, edited and marked for typesetter with additional typescript and holograph pages," to production 6/27/75," 26 pp. 8/1 Dummy with watercolor illustrations and typeset text, edited. DETECTIVE MOLE AND THE CIRCUS MYSTERY story and pictures by Robert Quackenbush (New York: Lothrop, Lee and Shepard, 1980). 8/2 Typescript, "client`s copy," edited and marked for typesetter, 19 pp. Galleys, "client's copy," edited. 8/3 Dummy with watercolor illustrations and holograph and typeset text, edited. 8/4 - 7 Paste-ups, 8/4 pp. 64/1 (title page), 4/5, 6/7, 10/11, 12/13, 14/15, 16/17, 18/19, 20/21; 8/5 22/23, 26/27, 28/29, 30/31, 32/33, 36/37, 40/41; 8/6 44/45, 46/47, 48/49, 50/51, 52/53, 54/55, 56/57, 58/59, 60/61, 62/63. DETECTIVE MOLE AND THE HALLOWEEN MYSTERY story and pictures by Robert Quackenbush (New York: Lothrop, Lee and Shepard, 1981). 9/1 Typescript, edited and marked for typesetter, 22 pp. Galleys, "master set, client's copy," edited, 2 pp. Galleys, revised and edited, "client's copy," 3 pp. DETECTIVE MOLE AND THE SEASHORE MYSTERY written and illustrated by Robert Quackenbush (New York: Lothrop, Lee and Shepard, 1979). 9/2 Dummy with watercolor illustration and typescript text, edited. Illustrations, colored scratchboard, pp. 14, 24, 26, 38. DETECTIVE MOLE AND THE SECRET CLUES story and pictures by Robert Quackenbush (New York: Lothrop, Lee and Shepard, 1977). 9/3 Manuscript, "first draft," in tablet. Also includes notes for The Holiday Song Book and Along Came the Model T: How Henry Ford Put the World on Wheels. Dummy with watercolor illustrations and typescript text, edited. DETECTIVE MOLE AND THE TIP-TOP MYSTERY story and pictures by Robert Quackenbush (New York: Lothrop, Lee and Shepard, 1978). 9/4 Dummy with watercolor illustrations and typescript text, edited. 9/5 - 7 Color separations, 9/5 pp. 64/1 (title page), 2/3 (contents page), 4/5, 6/7, 8/9, 10/11,12/13, 14/15; 9/6 16/17, 18/19, 20/21, 22/23, 24/25, 26/27, 28/29, 30/31; 9/7 32/33, 34/35, 36/37, 40/41, 42/43, 44/45, 46/47; 10/1 48/49, 50/51, 52/53, 54/55, 56/57, 58/59, 60/61, 62/63. DIG TO DISASTER written and illustrated by Robert Quackenbush (Englewood Cliffs, NJ: Prentice-Hall, 1982) 10/2 Dummy with watercolor illustrations and typescript text. 10/3-5 Color separations, 10/3 pp. 48/1 (title page), 2/3 (copyright/dedication), 4/5, 6/7, 8/9, 10/11, 12/13, 14/15; 10/4 16/17, 18/19, 20/21, 22/23, 24/25, 26/27, 28/29, 30/31; 10/5 32/33, 34/35, 36/37, 38/39, 40/41, 42/43, 44/45, 46/47. 10/6 Photo negative of blue color separation, p. 46. 10/7 Proof in three signatures, edited, unbound. 10/8 Proof, fragment, pp. 1-16. DON'T YOU DARE SHOOT THAT BEAR! A STORY OF THEODORE ROOSEVELT written and illustrated by Robert Quackenbush (Englewood Cliffs, NJ: Prentice-Hall, 1984; Simon and Schuster, 1984, 1988). 11/1 Dummy with watercolor illustrations and typescript text, edited. ELECTION DAY by Mary Kay Phelan, illustrated by Robert Quackenbush (New York: Thomas Y. Crowell, 1967). 11/2 Dummy with watercolor illustrations and typescript text, edited. ENGINE NUMBER SEVEN by Eleanor Clymer, illustrations by Robert Quackenbush (New York: Holt, Rinehart and Winston, 1975). 11/3 Note from Robert Quackenbush to de Grummond Collection. Storyboard. 11/3-5 Paste-ups, scratchboard, 11/3 pp. 1 (title page), 2/3, 4/5, 6/7, 8/9, 10/11, 14/15, 16/17; 11/4 18/19, 20/21, 22/23, 24/25, 28/29, 30/31, 32/33; 11/5 34/35, 38/39, 42/43, 44/45, 46/47, dust jacket. Blueprint. EXPRESS TRAIN TO TROUBLE written and illustrated by Robert Quackenbush (Englewood Cliffs, NJ: Prentice-Hall, 1981). 11/6 Dummy with watercolor illustrations and typescript text, edited. 12/1-3 Color separations, 12/1 pp. 48/1 (title page), 2/3, 4/5, 6/7, 8/9, 10/11, 12/13, 14/15; 12/2 16/17, 18/19, 20/21, 22/23, 24/25, 26/27, 28/29, 30/31; 12/3 32/33, 34/35, 36/37, 38/39, 40/41, 42/43, 44/45, 46/47. FIRST GRADE JITTERS written and illustrated by Robert Quackenbush (New York: J. B. Lippincott, 1982). 12/4 Typescript, edited and marked for typesetter, 8 pp. Dummy with watercolor illustrations and typescript text. 12/5-6 Color separations, 12/5 pp. 1 (title page), 4/5, 6/7, 8/9, 10/11, 12/13, 14/15, 16/17; 12/6 18/19, 20/21, 22/23, 24/25, 26/27, 28/29, 30/31, 32/33, dust jacket. FUNNY BUNNIES written and illustrated by Robert Quackenbush (New York: Ticknor and Field/Houghton Mifflin, 1984; Clarion, 1984). 13/1 Dummy with watercolor illustrations and holograph text, edited. A GIFT FOR LONNY by Eve Bunting, illustrated by Robert Quackenbush (Boston: Ginn, [1973]; Aylesbury: Ginn, 1978, 1981). 13/2 Dummy with watercolor illustrations and typescript text, edited. GIRAFFES AT HOME by Ann Cooke, illustrated by Robert Quackenbush (New York: Thomas Y. Crowell, 1972). 13/3 Dummy with watercolor illustrations and typeset text, edited. GO TELL AUNT RHODY, STARRING THE OLD GRAY GOOSE, WHO IS A LIVING LEGEND IN HER OWN LIFETIME AND THE GREATEST AMERICAN SINCE THE AMERICAN EAGLE told with pictures, puzzles and song by Robert Quackenbush (Philadelphia: J. B. Lippincott, 1973). 13/4 Dummy with watercolor illustrations and holograph text, edited. 13/5-8 Color separations, 13/5 pp. 1 (title page), 6/7, 8/9, 10/11, 12/13; 13/6 14/15, 16/17, 18/19, 20/21, 22/23; 13/7 24/25, 26/27, 28/29, 30/31, 32/33; 13/8 34/35, 36/37, endpapers. HENRY BABYSITS written and illustrated by Robert Quackenbush (New York: Parents Magazine Press, 1983). 14/1 Dummy with ink illustrations and holograph text. Dummy with watercolor illustrations and holograph and typescript text, edited. HENRY GOES WEST written and illustrated by Robert Quackenbush (New York: Parents Magazine Press, 1982). 14/2 Dummy with watercolor illustrations and holograph text, edited and corrected. HENRY'S AWFUL MISTAKE written and illustrated by Robert Quackenbush (New York: Parents Magazine Press, 1980). 14/3 Dummy with watercolor illustrations and holograph text, edited. HERE A PLANT, THERE A PLANT, EVERYWHERE A PLANT, PLANT: A STORY OF LUTHER BURBANK written and illustrated by Robert Quackenbush (Englewood Cliffs, NJ. Prentice-Hall, 1982). 14/4 Dummy with watercolor illustrations and typescript text, edited. 15/1-3 Color separations, 15/1 pp. 2/3 (endpapers), 4/5 (title page), 6/7 (copyright/dedication), 8/9, 10/11, 12/13; 15/2 14/15, 16/17, 18/19, 20/21, 22/23, 24/25; 15/3 26/27, 28/29, 30/31, 32/33, 34/35. THE HOLIDAY SONG BOOK selections, illustrations and additional lyrics by Robert Quackenbush (New York: Lothrop, Lee and Shepard, 1977). 15/4 Typescript, edited and marked for typesetter, 127 pp. irregularly paginated. 15/5 Typescript, edited and marked for typesetter, 145 pp. irregularly paginated. 15/6-16/3 Color separations, 15/6 pp. 128/1 (title page), 2/3 (dedication/half-title page), 4/5 (copyright/contents), 6/7, 8/9, 10/11, 12/13, 14/15; 15/7 16/17, 18/19, 20/21, 22/23, 24/25, 26/27, 28/29, 30/31; 15/8 32/33, 34/35, 36/37, 38/39, 40/41, 42/43, 44/45, 46/47; 15/9 48/49, 50/51, 52/53, 54/55, 56/57, 58/59, 60/61, 62/63; 15/10 64/65, 66/67, 68/69, 70/71, 72/73, 74/75, 76/77, 78/79; 16/1 80/81, 82/83, 84/85, 86/87, 88/89, 90/91, 92/93, 94/95; 16/2 96/97, 98/99, 100/101, 102/103, 104/105, 106/107, 108/109, 110/111; 16/3 112/113, 114/115, 116/117, 118/119, 120/121, 122/123, 124/125, 126/127, dust jacket. See also: Notes in manuscript, Detective Mole and the Secret Clues. A HOME FOR HOPPER by Rosemary Pendery, illustrated by Robert Quackenbush (New York: William Morrow, 1971). 16/4-6 Color separations, 16/4 pp. 40/1 (half-title page), 2/3 (title page), 4/5 (copyright/half-title page), 6/7, 8/9, 10/11, 12/13; 16/5 14/15, 16/17, 18/19, 20/21, 22/23, 24/25, 26/27; 16/6 28/29, 30/31, 32/33, 34/35, 36/37, 38/39, dust jacket and dust jacket flaps. HORATIO by Eleanor Clymer, drawings by Robert Quackenbush (New York: Atheneum, 1969). 17/1 Letter from Robert Quackenbush to de Grummond Collection, 8 November 1973. 17/2 Illustrations used in dummy, watercolor, pp. 8, 46, 48, 50, 52, 54, 56, 58, 60, 62. 17/3-5 Linoleum cuts, 17/3 pp. 8, 14, 16, 46; 17/4 48, 50, 52, 54; 17/5 56, 58, 60, 62; 17/6-7 Color separations, 17/6 pp. 8/9, 14/15, 16/17, 46/47, 48/49, 50/51, 52/53; 17/7 54/55, 56/57, 58/59, 60/61, 62/63. Proofs, pp. 14, 16. HORATIO GOES TO THE COUNTRY by Eleanor Clymer, illustrated by Robert Quackenbush (New York: Atheneum, 1978). 17/8 Dummy with watercolor illustrations and typeset text. 17/9 Illustrations, colored scratchboard, pp. 32, 48, 54, 62. HORATIO SOLVES A MYSTERY by Eleanor Clymer, illustrated by Robert Quackenbush (New York: Atheneum, 1980). 18/1-5 Paste-ups, illustrations only, scratchboard and colored scratchboard, 18/1 pp. 60/1 (half-title), 4, 8/9, 10/11, 12/13, 14/15; 18/2 16/17, 18/19, 20/21, 22/23, 24/25; 18/3 28/29, 30/31, 32/33, 34/35, 36/37; 18/4 38/39, 40/41, 44/45, 46/47, 48/49; 18/5 50/51, 52/53, 54/55, 56/57, 58/59. HORATIO'S BIRTHDAY by Eleanor Clymer, illustrated by Robert Quackenbush (New York: Atheneum, 1976). 19/1 Dummy with watercolor illustrations and typeset text. Illustration, colored scratchboard, p. 2., 19/2-20/1 Color separations, 19/2 pp. [2, 4/54, 6/7, 8/9, 10/11, 12/13; 19/3 14/15, 16/17, 18/19, 20/21, 24/25; 19/4 26/27, 28/29, 30/31, 32/33, 34/35, 36/37; 19/5 38/39, 40/41, 42/43, 44/45, 46/47, 48/49; 20/1 50/51, 52/53, 54/55, 56/57, 58/59, 60/61], dust jacket flaps. THE HOUSE ON STINK ALLEY: A STORY ABOUT THE PILGRIMS IN HOLLAND by F. N. Monjo, illustrated by Robert Quackenbush (New York: Holt, Rinehart and Winston, 1977; Dell, 1977, 1980). 20/2-4 Illustrations, scratchboard and colored scratchboard, 20/2 pp. 3, 5, 8, 9, 10, 13, 16, 19, 20; 20/3 21, 22, 24, 29, 30, 32, 33, 37, 39; 20/4 40, 42, 47, 49, 53, 55, 57, 59, 64. HOW MANY MILES TO SUNDOWN by Patricia Beatty, illustrated by Robert Quackenbush (New York: Morrow, 1974). 20/5 Illustration, woodcut. I DON'T WANT TO GO, I DON'T KNOW HOW TO ACT written and illustrated by Robert Quackenbush (New York: J. B. Lippincott, 1983). 21/1 Dummy with watercolor illustrations and holograph text. 21/2-4 Color separations, 21/2 [pp. 1 (title page), 2/3 (copyright/dedication), 4/5, 6/7, 8/9, 10/11; 21/3 12/13, 14/15, 16/17, 18/19, 20/21, 22/23; 21/4 24/25, 26/27, 28/29, 30/31, 32]. I FEEL THE SAME WAY by Lilian Moore, illustrations by Robert Quackenbush (New York: Atheneum, 1967). 21/5 Typescript, edited and marked for typesetter, title page and pp. 1-21. Galleys, edited, 3 sets. Illustration, "handcolored etching," pp. [4-5]. Page dummy with graphite sketch, edited, cover. 21/6 Dummy with watercolor illustrations and typeset text. IF I DROVE A BUS by Miriam Young, illustrated by Robert Quackenbush (New York: Lothrop, Lee and Shepard, 1973). 22/1 Dummy with watercolor illustrations and typeset, typescript and holograph text. 22/2 Color separations, pp. [32/1, 2/3, 4/5, 6/7, 8/9, 10/11, 12/13, 14/15, 16/17, 18, 19/20/21, 22/23, 24/25, 26/27, 28/29, 30/31, cover or dust jacket]. IF I DROVE A CAR by Miriam Young, illustrated by Robert Quackenbush (New York: Lothrop, Lee and Shepard, 1971). 22/3 Dummy with watercolor illustrations and typeset text, edited. IF I DROVE A TRACTOR by Miriam Young, illustrated by Robert Quackenbush (New York: Lothrop, Lee and Shepard, 1973). 22/4 Dummy with watercolor illustrations and typescript text. IF I DROVE A TRAIN by Miriam Young, illustrated by Robert Quackenbush (New York: Lothrop, Lee and Shepard, 1967). 22/5 Dummy with watercolor illustrations and typeset text, edited. 22/6 Color separations, pp. [2/3, 4/5, 6/7, 8/9, 10/11, 12/13, 14/15, 16/17, 18/19, 20/21, 22/23, 24/25, 26/27, 28/29, 30/31], dust jacket, with memorandum from Paul Z. Meyer. IF I DROVE A TRUCK by Miriam Young, illustrated by Robert Quackenbush (New York: Lothrop, Lee and Shepard, 1967). 23/1 Dummy with watercolor and pastel illustrations and typescript text. IF I RODE A DINOSAUR by Miriam Young, illustrated by Robert Quackenbush (New York: Lothrop, Lee and Shepard, 1974). 23/2 Dummy with watercolor and illustrations typeset and holograph text. IF I RODE A HORSE by Miriam Young, illustrated by Robert Quackenbush (New York: Lothrop, Lee and Shepard, 1973). 23/3 Dummy with watercolor illustrations and typescript text. Enclosure: Memorandum from Gene Sanchez, Lothrop, Lee and Shepard, to Dan Fein, Pearl Pressman. IF I RODE AN ELEPHANT by Miriam Young, illustrated by Robert Quackenbush (New York: Lothrop, Lee and Shepard, 1974). 23/4 Dummy with watercolor illustrations and typeset text with holograph note. IF I SAILED A BOAT by Miriam Young, illustrated by Robert Quackenbush (New York: Lothrop, Lee and Shepard, 1971). 23/5 Dummy with watercolor illustrations and typeset text. 23/6 Color separations, pp. [32/1 (title page), 2/3, 4/5, 6/7, 8/9, 10/11, 12/13, 14/15, 16/17, 18/19, 20/21, 22/23, 24/25, 26/27, 28/29, 30/31], dust jacket. Dust jacket. INVESTIGATOR KETCHEM'S CRIME BOOK written and illustrated by Robert Quackenbush, (New York: Avon/Camelot Books, 1984). 24/1 Typescript, edited and marked for typesetter, cover, dedication, pp 1-25. 24/2 Color separations, pp. 48/1, 2/3, 4/5, 6/7, 8/9, 10/11, 12/13, 14/15, 16/17, 18/19, 20/21, 22/23, 24/25, 26/27, 28/29, 30/31, 32/33, 34, 35, 36/37, 38/39, 40/41, 42/43, 44/45, 46/47. THE KEY TO THE KITCHEN by John Stewart, illustrated by Robert Quackenbush (New York: Lothrop, Lee and Shepard, 1970). 24/3 Dummy with watercolor illustrations and typeset text. LEAVE HORATIO ALONE by Eleanor Clymer, illustrated by Robert Quackenbush (New York: Atheneum, 1974). 24/4 Dummy with watercolor illustrations and holograph text. THE LIFE OF GEORGE WASHINGTON TOGETHER WITH CURIOUS ANECDOTES EQUALLY HONOURABLE TO HIMSELF AND EXEMPLARY TO HIS YOUNG COUNTRYMEN by Mason Locke Weems, introduced by Henry Steele Commager, embellished with historical woodcuts by Robert Quackenbush (Mount Vernon, NY: Limited Editions Club, 1974). 25/1 Artist's proofs, color woodcut, 8 items. LITTLE HANS, THE DEVOTED FRIEND by Oscar Wilde, illustrated by Robert Quackenbush (Indianapolis: Bobbs-Merrill, 1969). 25/2 Dummy with watercolor illustrations and holograph text. THE MAN ON THE FLYING TRAPEZE: THE CIRCUS LIFE OF EMMETT KELLY, SR. TOLD WITH PICTURES AND SONG by Robert Quackenbush (Philadelphia: J. B. Lippincott, 1975). 25/3 Typescript, edited and marked for typesetter, 8 pp. Dummy with watercolor illustrations and typeset, typescript and holograph text. 25/4-7 Color separations, 25/4 pp. 2/3 (front endpapers), 4/5 (title page), pp. 6/7, 8/9, 10/11; 25/5 12/13, 14/15, 16/17, 18/19, 20/21; 25/6 22/23, 24/25, 26/27, 28/29, 30/31; 25/7 32/33, 34/35, 36/37, 38/39 (back endpapers). Paste-up, cover. MONSTERS FROM THE MOVIES by Thomas G. Aylesworth, cover illustration and frontispiece by Robert Quackenbush (Philadelphia: J. B. Lippincott, 1972; New York: Bantam, 1978). 25/8 Color separation, dust jacket. (In Traveling Exhibit #4) MOOSE'S STORE story and pictures by Robert Quackenbush (New York: Lothrop, Lee and Shepard, 1979). 26/1 Dummy with watercolor illustrations and typeset text, edited. 26/2-5 Color separations, graphite, 26/2 pp. 64/1 (title page), 2/3 (dedication/contents), 4/5 (with color guide), 6/7, 8/9, 10/11, 12/13, 14/15; 26/3 16/17, 18/19, 20/21, 22/23, 24/25, 26/27, 28/29, 30/31; 26/4 32/33, 34/35, 36/37, 38/39, 40/41, 42/43, 44/45, 46/47; 26/5 48/49, 50/51, 52/53, 54/55, 56/57, 58/59, 60/61, 62/63, cover. THE MOST WELCOME VISITOR written and illustrated by Robert Quackenbush (New York: Windmill/E. P. Dutton, 1978). 27/1-2 Color separations, 27/1 pp. 2/3 (dedication/contents), 4/5, 6/7, 8/9, 10/11, 12/13, 14/15, 16/17; 27/2 18/19, 20/21, 22/23, 24/25, 26/27, 28/29, 30/31, 32. MOVIE MONSTERS AND THEIR MASTERS: THE BIRTH OF THE HORROR FILM written and illustrated by Robert Quackenbush (Chicago: A. Whitman, 1980). 27/3 Poster. MR. SNOW BUNTING'S SECRET story and pictures by Robert Quackenbush (New York: Lothrop, Lee and Shepard, 1978). 27/4 Dummy with watercolor illustrations and typescript text, edited. MRS. HERRING by Margaretha Shemin, drawings by Robert Quackenbush (New York: Lothrop, Lee and Shepard, 1967). 27/5 Illustrations, graphite, pp. 8, 32, 51, 73, 88, 114/115, 123, 164/165, 173, 190, cover. NO MOUSE FOR ME written and illustrated by Robert Quackenbush (New York: Franklin Watts, 1981). 27/6 Color separations, [32/1 (title page), 2/3 (copyright/ dedication), 4/5, 6/7, 8/9, 10/11, 12/13, 14/15, 15/17, 18/19, 20/21, 22/23, 24/25, 26/27, 28/29, 30/31], cover. OH, WHAT AN AWFUL MESS! A STORY OF ROBERT GOODYEAR (Englewood Cliffs, NJ: Prentice-Hall, 1980). 27/7 Dummy with watercolor illustrations and holograph text, edited. Enclosures: 2 letters and drawings from children. 28/1 Dummy with watercolor illustrations and holograph text, edited. 28/2-4 Color separations, 28/2 front endpapers, title page, copyright/prologue, pp. [4/5, 6/7, 8/9; 28/3 10/11, 12/13, 14/15, 16/17, 18/19, 20/21; 28/4 22/23, 24/25, 26/27, 28/29, 30/31, 32], back endpapers. OLD MACDONALD HAD A FARM by Robert Quackenbush (Philadelphia: J. B. Lippincott, 1972). 28/5 Dummy with watercolor illustrations and holograph text, "September 7." 28/6 Letter from Jean Krulis, Lippincott, to Robert Quackenbush returning manuscript and galleys. Enclosures: Manuscript, 2 pp., edited and marked for typesetter, and galleys, "8/3/71", edited, 1 p. 28/7-9 Color separations, 28/7 [4/5 (title page), 6 (copyright)/7, 8/9, 10/11, 12/13, 14/15; 28/8 16/17, 18/19, 20/21, 22/23, 24/25, 26/27; 28/928/29, 30/31, 32/33, 34/35, 36/37, cover. OLD SILVER LEG TAKES OVER! A STORY OF PETER STUYVESANT written and illustrated by Robert Quackenbush (Englewood Cliffs, NJ: Prentice-Hall ,1986). 29/1 Dummy with watercolor illustrations and typescript text. THE OPEN BOAT AND THREE OTHER STORIES by Stephen Crane, illustrated by Robert Quackenbush (New York: F. Watts, 1968). *48/10 Illustration, woodcut. THE PEANUT COOKBOOK by Natalie Donna, illustrated by Robert Quackenbush (New York: Lothrop, Lee and Shepard, 1976). 29/3 Dummy with watercolor illustrations and typeset text. 29/4-8 Color separations, 29/4 pp. 56/1 (half-title), 2/3 (title page), 4/5 (copyright/contents), 8/9, 10/11, 12/13; 29/5 14/15, 16/17, 18/19, 20/21, 22/23, 24/25; 29/6 26/27, 28/29, 30/31, 32/33, 34/35, 36/37; 29/7 38/39, 40/41, 42/43, 44/45, 46/47, 48/49; 29/8 50/51, 52/53, 54/55, dust jacket, dust jacket flaps. THE PEASANT'S PEA PATCH: A RUSSIAN FOLKTALE translated by Guy Daniels, illustrated by Robert Quackenbush (New York: Delacorte, 1971). 30/1 Dummy with watercolor illustrations and holograph text. 30/2 Illustrations, ink, colored ink and opaque watercolor, pp. [12, 13, 16, 17]. PETE PACK RAT written and illustrated by Robert Quackenbush (New York: Lothrop, Lee and Shepard, 1976). 30/3 Study sketches, watercolor, 8 pp. 30/4 Dummy with watercolor illustrations and typeset text, edited. Promotional flyer, 1 item. PETE PACK RAT AND THE GILA MONSTER GANG story and pictures by Robert Quackenbush (New York: Lothrop, Lee and Shepard, 1978). 30/5 Dummy with watercolor illustrations and typescript text, edited. PETE PACK RAT'S CHRISTMAS EVE SURPRISE story and pictures by Robert Quackenbush (New York: Lothrop, Lee and Shepard, 1981). 30/6-31/1 Color separations, 30/6 pp. 2/3 (front endpapers), 4/5 (title page), 6/7, 8/9, 10/11, 12/13; 30/7 14/15, 16/17, 18/19, 20/21, 22/23, 24/25; 30/8 26/27, 28/29, 30/31, 32/33, 34/35, 36/37, 38/39 (back endpapers), dust jacket, dust jacket flaps. PIET POTTER RETURNS story and pictures by Robert Quackenbush (New York: McGraw-Hill, 1980). 31/1 Dummy with watercolor illustrations and typescript text. PIET POTTER'S FIRST CASE story and pictures by Robert Quackenbush, (New York: McGraw-Hall, 1980). 31/2 Dummy with watercolor illustrations and typescript text. POP! GOES THE WEASEL AND YANKEE DOODLE: NEW YORK CITY IN 1776 AND TODAY written and illustrated by Robert Quackenbush, (New York: J.B. Lippincott, 1976). 31/3 Dummy with watercolor illustrations and holograph text. 32/1-3 Color separations, 32/1 pp. [2/3 (front endpapers), 4/5 (title page), 6/7, 8/9, 10/11, 12/13; 32/2 14/15, 16/17, 18/19, 20/21, 22/23, 24/25; 32/3 26/27, 28/29, 30/31, 32/33, 34/35, 36/37, 38/39 (back endpapers), cover or dust jacket]. (one item oversize - stored separately) THE POSSESSION OF SISTER JEANNE illustrated by Robert Quackenbush (Pleasantville, NY: Reader's Digest, 19[?]). 32/4 Sketches, ink and opaque watercolor, 16 items. 32/5 Illustrations, color woodcut, 11 items. (one oversize item stored separately) Illustration, woodcut, 1 item. PRONGHORN ON THE POWDER RIVER by Berniece Freschet illustrated by Robert Quackenbush (New York: Thomas Y. Crowell, 1973). 33/1-34/2 Linoleum blocks, 33/1 pp. 11/12; 33/2 29/30; 34/1 39/40; 34/2 41/42. 35/1 Paste-ups, linoleum cut and opaque watercolor, title page, half-title page, copyright/dedication pages, vi, 2/3, 4/5, 6/7, 8/9, 10/11, 12/13, 14/15, 16/17, 18/19, 20/21, 22/23, 24/25, 26/27, 28/29, 30/31, 32/33, 34/35, 36/37, 38, dust jacket. RAKOTO AND THE DRONGO BIRD by Robin McKown, illustrated by Robert Quackenbush (New York: Lothrop, Lee and Shepard, [1966]). 35/2 Dummy with ink and watercolor illustrations and typescript text. RED ROCK OVER THE RIVER by Patricia Beatty, illustrated by Robert Quackenbush (New York: Morrow, 1973). 35/3 Illustration, woodcut, frontispiece. Dust jacket material: watercolor illustration and dust jacket. RICKSHAW TO HORROR written and illustrated by Robert Quackenbush, (Englewood Cliffs, NJ: Prentice-Hall, 1984). 35/4-7 Color separations, 35/4 pp. 48/1 (title page), 2/3 (copyright/dedication), 4/5, 6/7, 8/9, 10/11; 35/5 12/13, 14/15, 16/17, 18/19, 20/21, 22/23; ROBERT QUACKENBUSH'S TREASURY OF HUMOR written and illustrated by Robert Quackenbush (New York: Doubleday, 1990). 36/1 "Manuscript dummy - Stage #1." 36/2 Typescript, edited and marked for typesetter - "Stage #2," pp. 1-99. 36/3 Galleys, first corrected copy, reader's set - "Stage #3." 36/4 Galleys, "second and final," corrected - "Stage #4." 37/1 Sketches, watercolor, "for planning finished book dummy," pp. 1-96 - "State #5." 37/2 Dummy with watercolor illustrations and typeset text - "Stage #6." 37/3 "Pen test for finished art - Stage #7," 1 item. "Sample test art - Stage #7," 1 item. "Research sketches - "Stage #7," 9 items. 37/4 - 8 Illustrations, ink and colored ink washes, with text overlays and specifications. 37/4 pp. 1 (half-title), 2/3 (title page), 4/5, 6/7, 8/9, 10/11, 12/13, 14/15; 37/5 16/17, 18/19, 20/21, 22/23, 24/25, 26/27, 28/29, 30/31, 32/33, 34/35; 37/6 36/37, 38/39, 40/41, 42/43, 44/45, 46/47, 48/49, 50/51, 52/53, 54/55; 37/7 56/57, 58/59, 60/61, 62/63, 64/65, 66/67, 68/69, 70/71, 72/73, 74/75; 37/8 76/77, 78/79, 80/81, 82/83, 84/85, 86/87, 88/89, 90/91, 92/93, 94/95, 96, front cover, back cover. SALT WATER GUNS by Robert M. Spector, [dust jacket and frontispiece by Robert Quackenbush] (New York: Henry Z. Walck, 1970). 37/9 Dust jacket. THE SCARLET LETTER by Nathaniel Hawthorne, illustrations by Robert Quackenbush, afterword by James Guimond (Pleasantville, NY: Reader's Digest, 1984). 37/10 Artist's proof, color woodcut. Woodcut, chapter openings. THE SCRIBBLER by George Mendoza, illustrated by Robert Quackenbush, (New York: Holt, Rinehart and Winston, 1971). 37/1 1 Typescript by George Mendoza, edited and marked for typesetter pp. 1-20. 38/1 Dummy with illustrations and holograph text. 38/2-3 Illustrations, ink and acrylic, 38/2 pp. [8/9, 10/11, 12/13, 14/15, 16/17]; 38/3 18/19, 20/21, 24/25, 26/27, 32/33]. SEAL HARBOR: THE LIFE STORY OF THE HARBOR SEAL by John F. Waters, illustrated by Robert Quackenbush (New York: F. Warne, 1973). 38/4 Illustrations, watercolor, 10 items. THE SELFISH GIANT by Oscar Wilde, illustrated by Robert Quackenbush (New York: Holt, Rinehart and Winston, 1965). 38/5-7 Sketches, watercolor, "first plan," 38/5 cover sheet, title page, numbers 1-7; 38/6 8-14; 38/7 15-20 and endpapers. 38/8 Sketches, watercolor, second plan, 1 alternate, 4 items. SHERIFF SALLY GOPHER AND THE HAUNTED DANCE HALL story and pictures by Robert Quackenbush (New York: Lothrop, Lee and Shepard, 1977). 39/1 Dummy with watercolor, illustrations, and typescript text, edited. SHERLOCK CHICK'S FIRST CASE written and illustrated by Robert Quackenbush (New York: Parents Magazine Press, 1986). 39/2 Dummy with watercolor illustrations and holograph text. SHE'LL BE COMIN' 'ROUND THE MOUNTAIN by Robert Quackenbush (Philadelphia: J. B. Lippincott, 1973). 39/3 Dummy with watercolor illustrations and holograph text, edited. SIX SILVER SPOONS by Janette Sebring Lowrey, pictures by Robert Quackenbush (New York: Harper and Row, 1971). 39/4 Dummy with watercolor illustrations and holograph text. 40/1-4 Color separations, 40/1 cover sheet, pp. 1 (dedication), 2/3 (title page), 4/5 (copyright/contents), 6/7, 8/9, 10/11, 12/13, 14/15, 16/17; 40/2 18/19, 20/21, 22/23, 24/25, 26/27, 28/29, 30/31, 32/33, 34/35, 36/37; 40/3 38/39, 40/41, 42/43, 44/45, 46/47, 48/49, 50/51, 52/53, 54/55, 56/57; 40/4 58/59, 60/61, 62/63, cover. SKIP TO MY LOU by Robert Quackenbush (Philadelphia: J. B. Lippincott, 1975). 40/5 Storyboard. "Costume sketches," graphite, 5 items. 40/6 Typescript, edited and marked for typesetter, 11 pp. Galleys, "1st confirmation, July 16, 1974," 6 pp. Galleys, 1 p. 40/7 Dummy with watercolor illustrations and holograph text. 41/1-4 Color separations, 41/1 pp. 4/5 (half-title), 6/7 (copyright/note), 8/9, 10/11; 41/2 14/15, 16/17, 18/19, 20/21, 22/23; 41/3 24/25, 26/27, 28/29, 30/31, 32/33; 41/4 34/35, 36/37, 38/39, 2/3 (endpapers), 1 (cover). 41/5 Press sheet/"printer's proof." (oversize - stored in map case) STAGE DOOR TO TERROR written and illustrated by Robert Quackenbush (Englewood Cliffs, NJ: Prentice-Hall, 1985; New York: Simon and Schuster, 1985). 42/1 Dummy with watercolor illustrations and typescript text, edited. A SUNDAY IN AUTUMN by Anthony Rowley, illustrated by Robert Quackenbush (Syracuse, NY: L. W. Singer, 1967). 42/2 Dummy with watercolor illustrations and holograph text, edited. SURFBOARD TO PERIL: A MISS MALLARD MYSTERY written and illustrated by Robert Quackenbush (Englewood Cliffs, NJ: Prentice-Hall, 1986) 42/3 Dummy with watercolor illustrations and typescript text, edited. TAXI TO INTRIGUE written and illustrated by Robert Quackenbush (Englewood Cliffs, NJ: Prentice-Hall, 1984). 42/4 Dummy with watercolor illustrations and typescript text, edited. 43/1-4 Color separations, 43/1 pp. 1 (title page), 2/3 (copyright/dedication, 4/5, 6/7, 8/9, 10/11, 12/13; 43/2 14/15, 16/17, 18/19, 20/21, 22/23, 24/25, 26/27; 43/3 28/29, 30/31, 32/33, 34/35, 36/37, 38/39, 40/41; 43/4 42/43, 44/45, 46/47, 48/49, dust jacket, dust jacket flaps. 43/5 Dust jacket material: watercolor illustrations and color separation proofs, 7 items. TEXAS TRAIL TO CALAMITY written and illustrated by Robert Quackenbush (New York: Prentice-Hall/Simon and Schuster, 1986). 44/1 Dummy with watercolor illustrations and typescript text. THERE'LL BE A HOT TIME IN THE OLD TOWN TONIGHT: THE GREAT CHICAGO FIRE OF 1871 told with pictures and song by Robert Quackenbush (Philadelphia: J. B. Lippincott, 1974). 44/2 Dummy with watercolor illustrations and holograph text. 44/3 Typescript, edited and marked for typesetter, pp. 1-10. Galleys, "new copy," and "master proof, Feb 19 1974," 5 pp. 44/4-7 Color separations, 44/4 pp. 4/5 (title page), 6/7 (dedication/note), 8/9, 10/11, 12/13; 44/5 14/15, 16/17, 18/19, 20/21, 22/23; 44/6 24/25, 26/27, 28/29, 30/31, 32/33; 44/7 34/35, 36/37, 38/39, 2/3 (endpapers), 1 (cover). Promotional flyer. TOO MANY DUCKLINGS written and illustrated by Robert Quackenbush (New York: Golden Books, 1987). 45/1 Dummy with watercolor illustrations and holograph text. 45/2 Promotional poster, autographed, 4 items. (oversize - stored separately) TOO MANY LOLLIPOPS written and illustrated by Robert Quackenbush (New York: Parents Magazine Press, 1975; New York: Golden Books, 1987). 45/3 Dummy with watercolor illustrations and holograph text, edited. 45/4 Dummy with watercolor illustrations and holograph text, edited. 45/5 Dummy with watercolor illustrations and typeset text. 46/1-3 Color separations, revised by artist, 46/1 pp. 4/5, 6/7, 8/9, 10/11, 12/13; 46/2 14/15, 16/17, 18/19, 20/21, 22/23; 46/3 24/25, 26/27, 28/29, 30/31, 32/33, endpapers. THE TWO WORLDS OF DAMYAN by Marie Halun Bloch, illustrated by Robert Quackenbush (New York: Atheneum, 1966). 46/4 Illustrations, ink and tempera, frontispiece, pp. 5, 25, 34, 49, 56/57, 78, 97, 118/119, 125, 135, 157, 170, dust jacket. WATT GOT YOU STARTED, MR. FULTON: A STORY OF JAMES WATT AND ROBERT FULTON written and illustrated by Robert Quackenbush (Englewood Cliffs, NJ: Prentice-Hall, 1982). 46/5 Dummy with watercolor illustrations and typescript text, edited. 46/6-9 Color separations, 46/6 pp. 2/3 (front endpapers), 4/5 (title page spread), 6 (copyright)/7, 8/9, 10/11, 12/13; 46/7 14/15, 16/17, 18/19, 20/21, 22/23, 24/25; 46/8 26/27, 28/29, 30/31, 32/33, 34/35, 36/37; 46/9 38/39 (back endpapers), dust jacket, dust jacket flaps. WHAT HAS WILD TOM DONE NOW?: A STORY OF THOMAS ALVA EDISON written and illustrated by Robert Quackenbush (Englewood Cliffs, NJ: Prentice-Hall, 1981). 46/10 Dummy with watercolor illustrations and typescript text paste- ups over holograph text, edited. 46/11-13 Color separations, ink, 46/11 pp. 2/3 (front endpapers), 4/5 (title page), 8/9, 10/11, 12/13, 14/15; 46/12 16/17, 18/19, 20/21, 22/23, 24/25, 26/27; 46/13 28/29, 30/31, 32/33, 38/39 (back endpapers). WHO LET MUDDY BOOTS IN THE WHITE HOUSE?: A STORY OF ANDREW JACKSON written and illustrated by Robert Quackenbush (New York: Prentice-Hall, 1986). 47/1 Dummy with watercolor illustrations and typescript text, edited. WHO SAID THERE'S NO MAN ON THE MOON?: A STORY OF JULES VERNE written and illustrated by Robert Quackenbush (New York: Prentice-Hall, 1985). 47/2 Dummy with watercolor illustrations and typescript text, edited. WHO THREW THAT PIE?: THE BIRTH OF MOVIE COMEDY written and illustrated by Robert Quackenbush (Chicago: Albert Whitman, 1979). 47/3 Dummy with watercolor illustrations and typescript text, edited. WHO'S THAT GIRL WITH THE GUN?: A STORY OF ANNIE OAKLEY written and illustrated by Robert Quackenbush (New York: Prentice-Hall/Simon and Schuster, 1987). 47/4 Dummy with watercolor illustrations and typescript text. YOU AND ME by Charlotte Zolotow, illustrated by Robert Quackenbush, senior authors John Jarolimek and Bertha Davis (New York: Macmillan, 1971) / YOU AND ME: LEARNING ABOUT SCHOOLS AND FAMILIES by Charlotte Zolotow, illustrated by Robert Quackenbush, senior authors John Jarolimek and Bertha Davis (New York: Macmillan, 1974). Note: 1971 page numbers precede the equal (=) sign; 1974 page numbers follow, if applicable. 48/1-5 Illustrations, ink, colored ink washes and acrylics, 48/1 pp. 8/9=22/23, 10/11=NA, 14/15=28/29, 18/19=32/33, 22/23=36/37; 48/2 24/25=38/39, 26/27=40/41, 30/31=44/45, 32/33=46/47, 34/35=48/49; 48/3 36/37=50/51, 38/39=52/53, 42/43=54/55, 44/45=56/57, 46/47=58/59; 48/4 52/53=92/93, 54/55=94/95, 62/63=NA, 68/69=102/103, 70/71=104/105; 48/5 72/73=106/107; 76/77=70/71, 84/85=78/79, 86/87=80/81, 90/91=84/85; 48/6 94/95=60/61, 96/97=62/63, 98/99=64/65, 102/103=110/11, 104/105=112/113; 48/7 106/107=114/115, 112/113=120/121, 114/115=122/123, 116/117=124/125, 118/119=126/127; 48/8 120/121=128/129, 124/125=NA, cover=NA 48/9 NA=6/7, NA=8/9, NA=10 alternate, NA=12/13, NA=14/15, NA=16/17, NA=68, NA=132/133. THE OPEN BOAT AND THREE OTHER STORIES by Stephen Crane, illustrated by Robert Quackenbush (New York: F. Watts, 1968). 48/10 illustration, woodcut.

F. Sound Recordings

49/1 Videocassette of pilot program, "How to Write a Mystery," for a proposed 16-part series to be titled Dear Mr. Quackenbush, undated. Includes reading of Stairway to Doom by the author/artist. (audiovisual - stored separately) Videocassette of school visit, Newfield, New York, 1988. (audiovisual - stored separately) Audiocassette, "On Tour with Robert Quackenbush," excerpts. Includes dramatic reading of Stairway to Doom by the author. (audiovisual - stored separately) Videocassette, "The Great American Storybook: The Story of George Washington" (audiovisual - stored separately)

G. Miscellaneous

"The Strange Sled Race," published in an unidentified Macmillan basal reader for Grade 5. 49/2 Illustrations, linoleum cut or woodcut and colored inks, pp. [459, 563, border], 3 items. "Miss Mallard Saves the Day" 49/2 Typescript, edited, cover sheet and pp. 1-8. "The Letter" 49/2 Color woodcut. v de Grummond Collection Christmas Card, 1971 49/2 Color separation and printed card, 2 items. "Flowers" 49/3 illustration, watercolor, 20" x 13 1/2"
ROBERT QUACKENBUSH
SUPPLEMENTARY LISTING

EVIL UNDER THE SEA: A MISS MALLARD MYSTERY written and illustrated by Robert Quackenbush (Pippin Press, 1992). 50/1 dummy. HENRY'S WORLD TOUR written and illustrated by Robert Quackenbush (Doubleday, 1992). 50/2 dummy. SHERLOCK CHICK AND THE CASE OF THE NIGHT NOISES written and illustrated by Robert Quackenbush (Parents' Magazine Press, 1990). 50/3 dummy. STOP THE PRESSES, NELLIE'S GOT A SCOOP! THE STORY OF NELLIE BLY written and illustrated by Robert Quackenbush (Simon & Schuster, 1992). 50/4-8 illustrations, color separations; 50/4 dust jacket, pp. 2-3, 4-5, 6-7; 50/5 pp. 8-9, 10-11, 12-13, 14-15; 50/6 pp. 16-17, 18-19, 20-21, 22-23; 50/7 pp. 24-25, 26-27, 28-29, 30-31; 50/8 pp. 32-33, 34-35, 36-37, 38-39; folded and gathered sheets. WHERE DID YOUR FAMILY COME FROM? A BOOK ABOUT IMMIGRANTS by Melvin and Gilda Berger, illustrated by Robert Quackenbush(Ideals Children's Books, 1993). 50/9-12 illustrations, color separations; 50/9 dust jacket, pp. 48-1, 2-3, 4-5, 6-7, 8-9, 10-11; 50/10 pp. 12-13, 14-15, 16-17, 18-19, 20-21, 22-23; 50/11 pp. 24-25, 26-27, 28-29, 30-31, 32-33, 34-35; 50/12 pp. 36-37, 38-39, 40-41, 42-43, 44-45, 46-47. THE WHOLE WORLD IN YOUR HANDS: LOOKING AT MAPS by Melvin and Gilda Berger, illustrated by Robert Quackenbush (Ideals Children's Books, 1993). 51/1 illustrations, color, with text pasted on; dust jacket, pp. 48-1, 2-3, 4-5, 6-7, 8-9, 10-11, 12- 13, 14-15, 16-17, 18-19, 20-21, 22-23, 24-25, 26-27, 28-29, 30-31, 32-33, 34-35, 36-37, 38-39, 40-41, 42- 43, 44-45, 46-47. "Detective Mole and the Case of the Missing Food" by Mrs. Grinrod's fourth grade (1985-1986) at Wrightstown Elementary School, Wrightstown, Penna. 51/2 assembled book.

MEDIUM IDENTIFICATION

1 = primary source: letter, publisher info, printed book, etc.

2 = appraisal, article, etc.

3 = processor's best guess

============================================== =============

General Information From a 1965 AMERICAN ARTIST article:

Through 1965 all his dust jackets were executed in woodcuts.

For woodcuts he selected soft, white pine. He sometimes uses sugar pine for broad areas in color print. (He sometimes used scrap wood.) His cutting tools were a V-shaped gouge and sometimes a knife for fine lines.

Q. uses many mediums - brush, pen, pencil, woodcuts, etchings, five- cent pencil, watercolors; print mediums - woodcuts, etching, lithography; enjoys watercolor and woodcuts; oils

With the exception of his watercolors he worked entirely with separations either on acetate or with wash on rice paper.

"The Letter" 2 - color woodcut

"The Strange Sled Ride" 1 - 2 colored woodcut illustrations

Wedding Announcement 1 - original linoleum cut

THE BAKER AND THE BASILISK 1 - sketches

CITY TRUCKS 1 - charcoal art and separations 1 - pencil and watercolor for cover

DETECTIVE MOLE...CIRCUS MYSTERY 1 - scratchboard, full color

DETECTIVE MOLE...SEASHORE MYSTERY 1 - colored scratchboard

ENGINE NUMBER SEVEN 1 - scratchboard

HORATIO 1 - 12 linoleum cuts 12 color separations 10 preliminary drawings 2 reproductions

HORATIO GOES TO THE COUNTRY 1 - colored scratchboard

HORATIO SOLVES A MYSTERY 1 - scratchboard - full-color 1 - colored scratchboard

HOUSE ON STINK ALLEY 1 - scratchboard 1 - scratchboard - two-color 1 - scratchboard

HOW MANY MILES TO SUNDOWN? 1 - woodcut

I FEEL THE SAME WAY 1 - original handcolored etching

LIFE OF WASHINGTON 1 - 2 color woodcut prints, artist's proofs

LONG, LONG TIME 2 - crayon and wash (brown, orange and green)

MOOSE'S STORE 1 - pencil on milar

MRS. HERRING 2 - five-cent pencil

OPEN BOAT... 1 - woodcut

POSSESSION OF SISTER JEANNE 1 - 11 original woodcuts, black and white 16 sketches 1 two-color woodcut

POEMS FOR COUNTING 2 - watercolor; also roughed out in watercolor

POEMS FOR GALLOPING 2 - roughed out in watercolor; executed in woodcuts 1 - original woodcut prints

PRONGHORN ON THE POWDER RIVER 1 - linoleum block

RAKOTO AND THE DRONGO BIRD 2 - finished art prepared and separated for color reproduction

ROBERT QUACKENBUSH'S TREASURY OF HUMOR 1 - black ink pen line drawings with Rotring (brand name) permanent colored ink washes on Arches 90 pound cold press watercolor paper

SCARLET LETTER 1 - 1 color woodcut illustration - test proof 1 black and white woodcut illustration

SCRIBBLER 1 - ink and acrylic

SEAL HARBOR 1 - watercolor on Arches paper

SELFISH GIANT 2 - pen line and watercolor 2 - first proposed woodcuts but too heavy 1 - 20 watercolor illustrations for body FIRST PLAN 1 watercolor sketch for cover 1 handlettered title page 1 solid watercolor endpapers 3 original illustrations in technique and color scheme (Plan 2) Number 3 is closest to the final version. 1 signed illustration showing technique and color but not used in published book

STEADFAST TIN SOLDIER 2 - color woodcut 2 - sample layout in watercolor

TWO WORLDS OF DAMYAN 1 - ink and tempera on Bainbridge board

WHAT HAS WILD TOM DONE NOW? 1 - pen and ink

YOU AND ME 1 - pen and ink, colored ink washes and acrylics 1 - colored ink on pebble board 1 - ink and acrylic



Processed: No Date Available
Revised: July 2001

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