Think and say the word.
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REMEMBERING TOMIE on October 1, 2020
According to Russell Freedman and Barbara Elleman’s book, HOLIDAY HOUSE, THE FIRST SIXTY-FIVE YEARS, Kate and John Briggs bought Holiday House in 1965.
Maybe five years later, Tomie met the Briggs. Tomie’s illustrations for PICK IT UP, by Sam and Beryl Epstein, was Tomie’s first book with Holiday House, published in 1971.
That was the beginning of a relationship that was creative and way too much fun.
It might seem odd to mention, but Tomie told me that John was the first male publishing executive who was comfortable when Tomie hugged him. Tomie was a hugger and often went in for the hug whether you were ready.
Tomie published dozens of original books with Holiday House. The Briggs gave him a publishing home at which he could explore ideas not appreciated at larger houses.
I often think, with gratitude, of the people who were kindest to Tomie, and the ones who filled him with joy. I will always be grateful to Kate and John. (Bob)
Copyright - Estate of Tomie dePaola and Whitebird, Inc.
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REMEMBERING TOMIE on September 30, 2020
Here’s another sample from the portfolio for Tomie’s artists’ representative.
Tomie titled the illustration “The Piper and the Puca, Irish Folktale.” I imagine this was created in the early 1970s. A heart is noticeable after his name.
Tomie’s book, JAMIE O’ROURKE AND THE POOKA, was published in 2000. “Pooka” is a variation of the old Irish word “puca” which means spirit/ghost/goblin. Tomie drew it in the form of a horselike creature, but it could take the appearance of a goat, cat, dog, hare, etc. (Bob)
Copyright - Estate of Tomie dePaola and Whitebird, Inc.
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REMEMBERING TOMIE on September 29, 2020
These illustrations were both samples in Tomie’s portfolio of work that his artists’ representative showed publishers in her efforts to get Tomie book illustration jobs.
The top one was probably done in 1963/1964. The bottom one was possibly done in 1971. I compared these both to dated samples to determine years of creation.
I find it interesting that Tomie’s early work featured characters with big eyes whereas the work had evolved by the early 1970s.
The other thing that intrigues me about the big-eyed girl is that many illustrators today draw characters with oversized eyes. Tomie hated that style of illustration.
The bottom drawing had the caption…
“All three had fallen in love with the same girl. She was the daughter of a farmer and her name was Celeste.” (Bob)
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REMEMBERING TOMIE on September 28, 2020
Weston Playhouse in Weston, Vermont. Summer of 1958. (Bob)
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