The Italian job

Whew. Finally wrapped up scanning every plate from Costumi die Secoli, a project begun, well, too long ago. I have plans for the beautifully hand-painted plates, which illustrate the clothing worn by professionals (lawyers, notaries, monks, soldiers), as well as royalty, celebs and others.

The two-volume book was published in Florence in 1837. Each plate is accompanied by historical and descriptive text, all of which was scanned, too. Both books are falling apart, with pages that are heavily foxed. Tissue covers each plate, but most of it also is foxed. Happily, the central images themselves are in good condition.

Most of the scans have been cleaned up, except for the title page, below, which I posted as is to show the true condition of the book. I came upon it at Significant Books, a quirky, used bookstore in my neighborhood that has closed. Sigh. Still miss popping in when walking to my studio. There were always surprises, and once the owners discovered what I do, they set aside material they thought would interest me.

In any case, here is a sampling of the plates …

  
View plates from the first post way back in 2012, and from the second post last spring.

Larger than life

As I've been going through the stacks and stacks and stacks of Life magazines given to me by illustrator C.F. Payne, I keep coming across striking advertisements.

No surprise there. Advertising companies have always been at the forefront of graphic design. But there are few that seem as fresh today as then. Among them, ads for Curtiss candy company, makers of all kinds of goodies, including the yummy Butterfinger and Baby Ruth bars. (Love the tagline for Butterfinger: "rich in dextrose." The food police would have a field day with that today.)

The ads are big, bold and modern. The only bad thing about them? They were placed on opposite pages, not the magazines' centerfolds. Even so, they'd be terrific framed. Joining them would be tricky. I tried to remove the pages carefully, but it is old paper (circa 1940s).

Here are the ads found so far, you can get an idea of their size in the images shot on my cutting mat and with the ruler … imagine the impact of turning the page and seeing one of these.

A startling war-time atlas

Yes. I've vowed again and again not to buy more maps. But while detouring through antique shops
in Lebanon, Ohio, I spotted this atlas. It was published in 1940 by Chicago's Geographical
Publishing Co. Thumbing through it, it didn't seem extraordinary. Until I reached the back, and a special section of maps depicting the war in Europe and Asia.

The bold red symbols - fists, boats, arrows, swastikas - were so striking as was the idea of
"remapping the world" at such a tumultuous time, that I felt compelled to buy it. I might
have been subliminally influenced by this year's 70th anniversary of D-Day, too.

As always, who knows what I'll do with it, if anything. Meantime, here's a look at some
of the maps (minus Asia, because the photo I took was out of focus, I'll try adding it later) …

Trying something new pays off

In an effort to try new things this year, I entered Art Comes Alive, an annual international, juried exhibition hosted by Cincinnati's Art Design Consultants. The piece that was juried into the exhibit is one of the most recent Grand Tour collages: "Riding the Waves" (below).

An e-mail arrived about two weeks before the opening, letting me know I had won an award. But not which one. They give out dozens of awards from gallery contracts and exhibits to purchases and "bests" (as in Best Watercolor Artist, etc.). I tried to put it out of my mind, but couldn't help wonder what it might be.

The big reveal was Saturday night when The Carnegie's director, Katie Brass, took to the stage and announced I had won its award. It was more than a surprise since I had been talking to Katie for part of the evening, and she never gave a hint, not a single one, about it. The prize? I'll be one of the 2015 artists in The Carnegie's Community Supported Art program. It launches this summer with 11 artists, hand selected by Matt Distel, the Carnegie's gallery director, and an ACA juror.

Already thinking about what I'll create, even though it's a year away. Meantime, the ACA exhibition continues through July 11 at ADC. There are 150 pieces in it, and more than a few stunners.

Hmm. Can I split myself in three Friday night?

I've been kind of in hiding, hoping that by not doing any shows, it would give me time to work on two new series of large and complicated collages. I have started work on them, but other things - primarily my greeting cards lines - have drawn me away.

Well,  as these things turn out, I'm about to have work in a crush of shows … all at the same time. Gulp.

Paper, Scissors, Folk Rock (left), Paper, Scissors, Soft Rock
Mixed-media collages from the Paper, Scissors, Rock series
by Sara Caswell-Pearce. ©  

I'm the guest artist in Studio 405 - home to photographers Kent Krugh, Lars Anderson, and Tim Freeman - at Cincinnati's Pendleton Arts Center for this month's Final Friday and Second Look Saturday. It's my first time showing collages at PAC, and I'll have some prints, too. 6-10 p.m. Friday May 30, and 11 a.m.-3 p.m. Saturday May 31.

Think About It
Mixed-media collage by Sara Caswell-Pearce. ©

"Think About It," a collage created last fall for an invitational exhibition at the YWCA of Cincinnati's Women's Art Gallery, was accepted into this year's SOS Art exhibition, which focuses on issues of peace and justice. It is an increasingly large exhibit, featuring work by more than 100 area artists. It opens 6 p.m. Friday May 30 with artist walks and talks, and a potluck, and continues through June 8 at the Art Academy of Cincinnati in Over-the-Rhine. Other events surrounding the exhibit include poetry readings, a film screening, a panel discussion, and dance and music performances.

The second part of the exhibition "Thank You, Lily," opens 6-9 p.m Friday May 30 at 1305 Gallery, 1305 Main St., Over-the-Rhine. It features work by the gallery's owner, Lily Mulberry, who died in early April. She experimented with a wide variety of media and styles. There also are some pieces for sale by artists who have shown at the gallery, including me. All proceeds benefit Lily's family.

The Grand Tour: Riding the Waves
Mixed-media collage by Sara Caswell-Pearce. ©

I also was juried into the annual Art Comes Alive exhibition at Cincinnati's Art Design Consultants via the collage "The Grand Tour: Riding the Waves." The exhibit opens 7-10 p.m. Saturday June 7 with a cocktail party, and awards ceremony. 310 Culvert St., downtown Cincinnati. $50, reservations required by June 2.

Second Sight (left), Joshua's Third Eye Experiences
a Sudden Growth Spurt (middle), Hindsight (right)
Mixed-media collages by Sara Caswell-Pearce. ©

Last but not, well, you know is "Tripletta," a traveling invitational exhibition of sets of three miniatures by area artists. It opened May 9 at Covington Arts and continues through June 20. It's part of a larger set of exhibitions, Trifecta, all curated by Wideman. Hours are 9 a.m.-5 p.m. weekdays. 27 W. 7th St., Covington.