Fantastic Pen And Ink Botanical Signed C1969 Barry Moser ORIGINAL Drawing

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Seller: memorabilia111 ✉️ (808) 100%, Location: Ann Arbor, Michigan, US, Ships to: US, Item: 176299957926 Fantastic Pen And Ink Botanical Signed C1969 Barry Moser ORIGINAL Drawing. Moser, Barry. Original botanical drawing for Flora Of Massachusetts. Pen and Ink on paper, signed by Moser. 4 7/8 x 7 inches.: n.d. (ca. 1969) Mosers lovely and meticulous drawing for the Flora of Massachusetts - over 370 of them - were completed during 1960 and 1970. The book, designed by Richard Hendel was published by The University  of Massachusetts in 1975. With a copy of prospectus for the book  This auction is only for drawing not the book. Drawing also has a stamp 224 on back and 10/15 numbered on back. 
BARRY MOSER was born in Chattanooga, Tennessee in 1940. He was educated at a military academy there, The Baylor School, then at Auburn University and the University of Tennessee at Chattanooga. He did graduate work at the University of Massachusetts at Amherst in 1970. He studied with George Cress, Leonard Baskin, Fred Becker, and Jack Coughlin. His work is represented in numerous collections, museums, and libraries in the United States and abroad, including The National Gallery of Art, Washington, The Metropolitan Museum, The British Museum, The Library of Congress, The National Library of Australia, The London College of Printing, The Pierpont  Morgan Library, The Vatican Library, Harvard University, Yale University, Dartmouth College, Cambridge University, the Israel Museum and Princeton University to name a few. Mr. Moser has exhibited internationally in both one-man and group exhibits. He is a member of the Society of Printers, Boston; an Associate of the National Academy of Design elected in 1982 & made full Academician in 1994; and was a founding trustee of the Eric Carle Museum of Picture Book Art. He was awarded the Doctor of Fine Arts degree by Westfield State College, Westfield, Massachusetts (1999), the Doctor of Humanities degree by Anna Maria College, Paxton, Massachusetts (2001), and the Doctor of Fine Arts degree from Massachusetts College of Art, Boston, Massachusetts (2003).    In addition to being an illustrator he is also a printer, painter, printmaker, designer, author, essayist, and teacher. Mr. Moser frequently lectures and acts as visiting artist and artist in residence at universities and institutions across the country. He is on the faculty of the Illustration Department at the Rhode Island School of Design, was the 1995 Whitney J. Oates Fellow in Humanities at Princeton University, was artist and writer in residence in the Children’s Literature department at Vassar College in 1998, and is currently on the faculty of Smith College where he is Professor in Residence in the Department of Art and serves as Printer to the College. In the fall of 1999 he was artist in residence at Dartmouth College and the University of Iowa. He was the Elliott lecturer in the book arts at the International Festival of Authors in Toronto in the fall of 2000, and in the fall of 2001 was the Distinguished Visiting Scholar at the University of Louisville. Mr. Moser lives in western Massachusetts with his wife, two English mastiffs and four cats. He has three grown daughters and nine grandchildren.   The books Moser has illustrated and/or designed forms a list of over three hundred titles. That list includes the Arion Press Moby-Dick and the University of California Press The Divine Comedy of Dante. Moser's edition of Lewis Carroll's Alice's Adventures in Wonderland, won the National Book Award for design and illustration in 1983 and prompted the poet John Ashbery writing in NEWSWEEK (March 1, 1982), to call Moser's work “never less than dazzling.” Mr. Moser was honored as a “New England Living Treasure” in 1983 by the New England Artist Festival. His Jump, Again! The Further Adventures of Brer Rabbit, was named by The New York Times as one of the “Ten Best Illustrated Children's Books” of 1987 as well as one of Redbook's Best Books for Children for that same year. His collaboration with Cynthia Rylant, Appalachia, the Voices of Sleeping Birds, won the prestigious Boston Globe-Horn Book Award in 1991, and his collaboration with Ken Kesey, Big Double the Bear Meets Little Tricker the Squirrel, was named one of the best books of 1990–1991 by the International Board of Books for Young People of Zurich, Switzerland. His collaboration with his granddaughter, Isabelle Harper, My Dog Rosie was named a Best of the Year by Parents Magazine in 1994. Whistling Dixie, his collaboration with Marcia Vaughn was a 1995 ALA Notable Book, as was his collaboration with Virginia Hamilton, When Birds Could Talk and Bats Could Sing, in 1997. He has won numerous citations and awards of merit from Communication Arts Magazine, Bookbuilders West, The American Association of University Presses, and The American Institute of Graphic Arts. His monumental work on the Pennyroyal Caxton Bible (1999) has been the subject of scores of articles in print, television, and radio as well as the subject of a documentary film called A Thief among the Angels. It was also featured in the only one-man exhibit ever to be mounted at the Library of National Gallery of Art in Washington D.C. by a living artist. It was exhibited in the summer and autumn of 2000 at the Israel Museum in Jerusalem as part of an exhibit called "The Bible in the Landscape."     Some Appreciations of Barry Moser’s Work   “The sample page from your Bible is splendid.  It’s the sort of thing that makes type designers think their work has not been in vain.”         —Matthew Carter to Barry Moser, December 1995   “Barry Moser is probably the most important book illustrator working in America today.”         —Nicholas Basbanes   “Moser moves from strength to strength.”         —John Updike   “Moser has the technical virtuosity to pull more out of a piece of wood than any other contemporary American engraver.”         —American Book Collector   “Moser’s imagination is rich undulating, and unfathomable.”         —Joyce Carol Oates   “Barry Moser’s illustrations are exquisite beyond the telling. He soars at an altitude where only such wondrous birds of passage as Lynd Ward and Rockwell Kent have tasted the wind. The passion, craft and imagination of Moser’s work have an impact that leaves the viewer speechless.”         —Harlan Ellison BARRY MOSER  • CURRICULUM VITAE Book Designer. Illustrator. Printmaker.  Educator. Lecturer. Author. Essayist. P.O. Box 81, North Hatfield, Massachusetts 01066 Born:  October 15, 1940. Chattanooga, Tennessee Family:  Divorced. Three daughters: Cara b. 1963; Ramona b. 1965;  Madeline b. 1972. Ten grand children as of winter 2010. Remarried, June 2003 to Emily Crowe. Education:  Auburn University, Auburn Alabama, 1958-1960.   The University of Chattanooga, Chattanooga, Tennessee 1960-62.  B.S., Art Education University of Massachusetts Graduate School, 1970 Honorary degrees:  Doctor of Fine Arts, Westfield State College, Westfield, Massachusetts 1999. Doctor of Humanities, Anna Maria College, Paxton, Massachusetts, 2001. Doctor of Fine Arts, Massachusetts College of Art, Boston, Massachusetts, 2002. Societies: National Academy of Design, Associate Academician (ANA ’84) and Academician (NA ’94). The Society of Printers, Boston (Honorary) The Society of Wood Engravers, London  (Honorary) Boards: Founding Trustee, The Eric Carle Museum of Picture Book Art, Amherst, Massachusetts, 2001. Advisory Board, The Southern Review, 2006. Honorary Advisory Board member, White Muzzle Fund, 2007. GROUP SHOWS •5th & 6th Dixie Annuals.  1964 & 1965. Montgomery, Alabama. •Winston-Salem Annual. 1965. Winston-Salem, North Carolina. •22nd American Drawing Biennial. 1966. Norfolk,Virginia. •Second Cape Cod Annual. 1971. Barnstable, Massachusetts. •Boston Printmakers. 1972. Brandeis University. Waltham, Massachusetts •31rst Berkshire Museum Show. 1972. Pittsfield, Massachusetts. •Los Angeles National Print Show. Otis Art Institute. 1974. •New Hampshire International Print Exhibition. 1974.  •15th Annual Bradley Print Show. 1974. Bradley University. Peoria, Illinois. •Library of Congress National Print Exhibition. 1975. Washington, DC •Printmaking West. 1975. Utah State University. Logan, Utah. •Krakow Invitational. 1975. Krakow, Poland. •Modern Greek Typography. 1976. Wellesley College Library.  Wellesley, Massachusetts. •History of the Printed Books.   1976.  San Francisco Public Library.  San Francisco, California. •Recent Acquisitions. 1976. Houghton Library. Harvard College. Cambridge, Massachusetts. •4th International Exhibit of Botanical Art.  1977-1978.  Pittsburgh, Pennsylvania. •Calligraphy.  Past & Present.  George Walter Vincent Smith Museum. 1979. Springfield, Massachusetts. •Printers’ Choice.  The Grolier Club.  1979.  New York City. •Private Presses.  The Book as Art. Liberty Gallery,  Louisville, Kentucky. •American Printmakers as Illustrators.  Pratt Institute.  1979.  New York City. •Seventy From the Seventies.  New York Public Library.  1980.  New York City. •50 Books of the Year.  American Institute of Graphic Arts.  N.Y.C. .  1981-1986. •Visage d’Alice.  Centre National d’art et de culture.  Georges Pompidou,  Paris.  1983. •Bratislava (Czechoslovakia)  International.  1988. 1990. &  1991. •Design USA.  Moscow.  Leningrad.  et al. 1990. •New York Public Library.  Best of the Decade.  1990. •Chapin Library.  Williams College.  Four  Centuries of Children’s Books.  1991. •Beineke Library.  Yale University.  “Read Me a Story— Show Me a Book.”  1991. •125 Years of Alice.  The British Museum.  London.  1991-1992. •National Gallery of Art.  Study Center.  Washington, D.C.  1992. •Printed Responses to the Written Word.  Cooper Union.  N.Y.C.  1992. •Society of Illustrators.  N.Y.C.  1991, 1992, 1993, 1994, 1995, 1996, 1997, 1998, 1999. •Annual Children's Book Illustration Show, Michelson Gallery, Northampton, Massachusetts, annually 1993–2005. •The Art of Enchantment. Norman Rockwell Museum. Stockbridge, MA. 1995. •Children’s Literature Hawaii.  Honolulu Academy of Arts. Honolulu Hawaii. 1996. •Windows on Enchantment: Children’s Book Illustrations. 1996. •The Chrysler Museum of Art. Myth, Magic, and Mystery. Norfolk, Virginia. 1996. •SPEAK! Children’s Museum. Chicago, Illinois. 1996 •SPEAK! Children’s Museum. Pittsburgh, Pennsylvania. 1996. •SPEAK! Children’s Museum. Austin, Texas. 1996. •SPEAK! The Dog Museum. St. Louis, Missouri. 1996 •Honoring  Words: The Art of Book Design. Greenwich, CT. 1996 •Picturing Childhood: Illustrated Children’s Books from University of California Collections, 1550-1990, UCLA Armand Hammer Museum of Art. 1997 •Oppression: Images of Intolerance; William Blizzard Gallery, Springfield College, Springfield, Massachusetts, 2001. •“Literary Dogs,” Sewickley Public Library, Sewickley, Pa., 2001 •“What’s Under the Bed? Monsters in Children’s Book Illustration;” DeCordova Museum, Lincoln, Massachusetts, 2001 •“The Art of the Book,” Victoria & Albert Museum, London, 2001 •“The Art of the Book,” Georgia Museum of Art, Athens, Georgia, 2002 •“Typographically Speaking,” Albin O. Kuhn Library and Gallery, University of Maryland Baltimore County, Baltimore, Maryland, 2002 •American Botanical Prints of Two Centuries, Hunt Institute for Botanical  Documentation; Carnegie Mellon University; Pittsburgh, Pennsylvania; 2003. •Illustration: Personal Responses in a public World; University of Wisconsin–Eau  Claire, Eau Claire, Wisconsin, January 23 to February 13, 2003. •178th Annual Exhibit, National Academy of Design, New York, New York, 2003. •“Brave New World,” Princeton University Library, Princeton, NJ, 2003. •“Porole di Legno,” Museo Luigi Mallè,  Biblioteca del Centro Sperimentale per le Arti Contemporanee, Dronero, Italy, 2004. “The Original Art 2004: Celebrating the Fine Art of Children’s Book Illustration,”  Museum of American Illustration at the Society of Illustrators, New York, 2004. •“Myrtle Beach Collects,” Franklin G. Burroughs • Simon B. Chapin Art Museum, Myrtle Beach, South Carolina, January 2005. •Smith College Faculty show, Northampton, Ma, 2003, 2004, 2005, 2006, 2007, 2008. •“EX LIBRIS Artists’ Books,” Special Collections and Archives, Florida Atlantic  University Libraries, Boca Raton, Florida, 2005. •“Illustrating Connecticut,” Burt Chernow Galleries, Housatonic Community College,  Bridgeport, Ct, 2008. •MR50: Celebrating Fifty Years of Covers (Massachusetts Review; University Gallery, Fine Arts Center, University of Massachusetts, Amherst, Mass.; 2009 •Society of Wood Engravers, 72 Annual Exhibition, Bankside Gallery,  Oxford, England 2009. •Society of Illustrators, New York City, 2009. •Multiple x Multiple, University of Tennesseee, Knoxville, 2009. •Alice in Pictureland, Brandywine Museum, Chadds Ford, Pennsylvania, 2009. •Massachusetts Review: 50Years of Covers; University Gallery, University of  •Massachusetts, Amherst, Massachusettts, 2009. •“Fairy Tale Art, Illustrations from Children’s Books,”  oMuscatine Art Center, Muscatine, Iowa; 2009 oEverhart Museum, Scranton, Pennsylvania; 2009 oQueens Library Gallery, Jamaica, New York; 2009 oMuseum of Texas Tech University, Lubbock, Texas; 2009 oMobile Museum of Art, Mobile, Alabama; 2010 oArnot  Art Museum, Elmira, NY 2009 oPortsmouth Museum, Portsnouth, Va, 2010 oCity of Lake Charles Museum, Lake Charles, La, 2010 oRingling School of Art & Design, Selby Gallery, Sarasota, Fl, 2010 ONE-MAN SHOWS Hunter Gallery.  Chattanooga, Tennessee.  1964.  Arts and Crafts Gallery, Dalton, Georgia, 1965. Graphic Arts Society.  Springfield, Massachusetts.  1969. Optic Gallery, Amherst, Massachusetts, 1969. University of Tennessee at Chattanooga.  1970, 1975, 1980, 2008, 2009 Berkshire Museum.  Pittsfield, Massachusetts.  1973. Smith College.  Northampton, Massachusetts.  1976. (Faculty shows, 2003, 2004, 2005, 2006, 2007, 2008, 2009 ) Boston Athenaeum.  Boston, Massachusetts.  1976. University of Nebraska.  Omaha, Nebraska.  1976. Trinity College. Hartford, Connecticut.  1977. Galleriaforma. Genoa, Italy.  1980. Italian Cultural Embassy, New York City. 1980. Italian Cultural Embassy, San Francisco, California. 1980. University of Wisconsin.  River Falls, Wisconsin.  1980. Basilisk Gallery, London. 1981 Museum of Fine Arts, Springfield, Massachusetts, 1982. Mary Ryan Gallery.  N.Y.C.  1982, 1983, 1985, 1987 University Research Library, UCLA.  Los Angeles, California. 1984, 1985.   Mark Twain Memorial.  Hartford, Connecticut.  1985. Bluxome Galleries, San Francisco, California, 1985 Carnegie Mellon University Library.  Pittsburgh, Pennsylvania, 1986. Every Picture Tells a Story, Los Angeles, California, 1986 Childs Gallery Ltd..  Boston, Massachusetts.  1988. Storyopolis, Los Angeles, California, 1995 Sordoni Art Gallery. Wilkes University. Wilkes-Barre, Pennsylvania. 1994. Heritage Book Shop, Los Angeles, California, 1999. Michelson Galleries, Northampton, Massachusetts, 1995, 1997, 1999, 2000, 2002 through 2009 Museum of Printing History, Houston, Texas, 2000 Hunter Gallery.  Chattanooga, Tennessee.  2000, 2005. 2007 Dartmouth College, Hanover, New Hampshire, 2000 Longwood College, Farmville, Virginia, 2001. Art One Gallery, Gastonia, North Carolina, 2001. The Hite Art Institute, University of Louisville, Louisville, Kentucky, 2001. Queen’s University, Kingston, Ontario, 2001. Massachusetts College of Art, Boston, Massachusetts, 2002 Hartwick College, Oneonta, New York,  American Literature and the Land, along with Lewis Carroll and the Bible: Illustrations by Barry Moser.  November 2002. Pennsylvania State University, University Park, Pennsylvania, 2002 The Cathedral Church of St. John the Divine, New York City, March-April 2003. Literary Journeys / Classic Texts: The Illustrations of Barry Moser, University Museum, Southeast Missouri State College, Cape Girardeau, Missouri, May 27 through August 10, 2003. National Yiddish Book Center, Amherst, Massachusetts, July through November, 2003. South College gallery, University of Massachusetts, Amherst, March through June, 2004. The Vault Gallery, Great Barrington, Massachusetts, August, 2004. Signs of Life Gallery, Kansas City Ks; 2005 Boston College, Burns Library; Boston, Ma; 2005 Literary Genius, University of Connecticut, Storrs, Ct, 2006 University of Massachusetts, Amherst, 2006. Festival of Faith & Writing, Calvin College, Grand Rapids, Mi, 2006. 2008. Christopher Newport University, Newport News, Va; 2007 The Cathedral Church of St. John the Divine, New York City, October, 2007. Honolulu Academy of Art, Honolulu, Hawai’I, 2008. “Flannery & Faulkner,” Flannery O’Connor Symposium, Milledgeville, Ga., 2008 Schick Gallery, Skidmore College, Saratoga Springs, NY, 2008. Vanderbilt University, Special Collections, 2009. DISTINCTIONS & AWARDS Purchase Prize.  Westfield State Annual.  1970. Award of Merit.  New Hampshire International.  1974. Charter Member.  American Printing History Association.  N.Y.C., 1975. Who’s Who in Graphic Arts. .  Zurich, Switzerland.1975-1976. National Academy of Design.   Associate Member. April, 1982. National Academy of Design. Academician, 1994. Recipient.  National Book Award.  April, 1983. New England Living Art Treasure.  New England Artist Festival.  1983. Local Hero.  New England Monthly Magazine.  September  , 1985. Award of Merit.  Communications Arts Magazine. 1984.  1985.  1986. Award of Merit.  Bookbuilders West.  1983.  1984.  1985.  1986.  1987.  1988. Award of Merit.  AIGA.  1982.  1983.  1984.  1985. 1986.  1987.  1988. Honor Award.  Bratislava International.  1989. Ida Beam Visiting Professor, University of Iowa, 1989. New York Times Ten Best Books of the Year.  1987. School Library Journal.  Best Book of the Year.  1987. American Library Association Notable.  1987. Redbook Children’s Picture Book Award.  1987. AAUP Award.  1990. Honor Award.  Chicago Book Clinic.  1990. New  York Book Show.  Second Place.  1990. Washington (D.C.).  Edpress Award.  1990. Valley Advocate Best Artist in the Valley.  1990. Steven Harvard Lecturer.  Dartmouth College.  1990. Waldenbooks Honor Award.  1991. The International Board of Books for Youth Award.  1991. American Booksellers “Pick of the Lists”  1991. NCSS-CBC Notable.  1991. Parent’s Choice Award for Illustration.  1991. 100 Best Books for Children, Library of Congress.  1991. Distinguished Alumnus.  Baylor School.  1991. Children’s Books of the Year.  Bank Street College.  1992. Honorary Committee Member.  Commonwealth (of Massachusetts) Awards.  1992. Distinguished Alumnus.  University of Chattanooga.  1993. Picks & Pans. The Mushroom Man.  People Magazine. 1993 National Spokesperson.  Rainbow Babies and Children’s Hospital.  Cleveland, Ohio.  1993-1994. Notable Children’s Trade Book in the Field of Social Studies. Cloud Eyes. National Council on  Social Studies/Children’s Book Council. 1994. Children’s Books of the Year, Call of the Wild, Bank Street College. 1994. Best of the Year. My Dog Rosie. Parents Magazine. 1994. Bulletin Blue Ribbon. Tucker Pfeffercorn. Bulletin of the Center for Children’s Books. 1994 Member, National Academy of Design, 1994. Best of the Year, Parents Magazine, 1995. Children’s Literature Council of Pennsylvania, Favorite, 1995. “Kind Writers Make Kind Readers” Award. My Dog Rosie. The Fund For Animals Inc. 1996 New York Public Library Books for the Teen Age. The Iron Woman. 1996 Smithsonian’s Notable Books for Children, When Willard Met Babe Ruth, Smithsonian Magazine, November 1996. The Capitol Choice List, When Birds Could Talk and Bats Could Sing, Washington, DC, 1996. Booklist, Notable Children’s Books 1997, When birds Could Talk and Bats Could Sing, Chicago, Illinois, 1997. Nominee: Governor General’s Award; Toronto, 1998. Toronto Book Awards; Short List; Dippers, 1998. Ida Beam Lecturer, University of Iowa, Iowa City, Iowa, 1999. J. Ben Leiberman Memorial Lecturer, American printing History Association, Iowa City, Iowa, 1999. “Best Gift Book of the Year,” Alan Cheuse, National Public Radio, The Bible, 1999. Doctor of Fine Arts, Westfield State University, Westfield, Massachuseetts,  2000. The Betty Ann Elliot Lecture, International Festival of Authors, Toronto, Ontario, 2000. Wolpert Scholar in Residence, Temple Sianai, Worcester, Mass., 2000. Distinguished Lecturer, Center for Renaissance Studies, University of Massachusetts, Amherst, 2000. Bronze medal. Founding Trustee, The Eric Carle Museum of Picture Book Art, Amherst, Massachusetts, 2001. The Third Flannery O’Connor Memorial Lecturer, Georgia State College,Milledgeville, Georgia, 2001. The Chrysler Design Awards, nominee, 2001. Doctor of Humanities, Anna Maria College, Paxton, Massachusetts, 2001. Distinguished Visiting Scholar at the University of Louisville, Louisville, Kentucky 2001. Artist in Residence, Hite Art Institute, Louisville, Kentucky, 2001  Kentucky Colonel, by decree of the Governor of Kentucky, December, 2001. Dickinson College, Friends of the Library Lecturer, Carlisle, Pennsylvania, April, 2002.  Doctor of Fine Arts, Massachusetts College of Art, Boston, Massachusetts, 2002. Toronto Public Library's Best 100 Books for Children and Teens: Advanced Picture Books Category Dippers              by Barbara Nichol, illustrated by Barry Moser, 2003. Advisory Board, The Southern Review, 2006. Honorary Advisory Board member, White Muzzle Fund, 2007. The Charlotte Award, for A Horse named Funnycide, The New York State Reading Association, 2008. Commencement speaker, Lyndon State College, May 2008. First Prize, Illustrated Books, American Association of Museums Design Competition, 2008. The Benjamin Franklin Award, (for Literary Genius) The Independent Book Publishers Association, 2008. Twentieth Fox-Adler Lecture, Skidmore College, Saratoga Springs, NY., 2008. 2008 Gold Medal Winner–Best Illustrator–Moonbeam Children’s Book Awards (for Jack London’s Dog),              The Jenkins Group, Chicago. 2009 Junior Library Guild Selection, for Once Upon a Twice.  The Eleventh Annual Virginia Hamilton Literary Award for Contributions to Muticulturalism in Youth Literature,              Kent State University, Kent, Ohio, 2009. ForeWord Magazine,2008 Book of the Year Award Finalist (Jack London’s Dog). Bank Street College of Education; A Best Children’s Book of 2008 (Hogwood Steps Out). Honorary Member, Society of Wood Engravers, London, GB. Elected 2009. TEACHING POSITIONS The McCallie School.  Chattanooga, Tennessee.  1962-1967. The Williston Northampton School.  Easthampton, Massachusetts.  1967-1982. Rhode Island School of Design.  Providence, Rhode Island.  1991-2001. Princeton University, Whitney J. Oates Fellow in Humanities,  Princeton, NJ, 1995. Louise Seaman Bechtel Children’s Writer in Residence, Vassar College, Poughkeepsie, NY, 1998. Visiting Artist, Dartmouth College, Hanover, NH, 1999. Smith College, Northampton, Massachusetts, 2001 to present. Professor in Residence Printer to the College Distinguished Visiting Scholar, University of Louisville (Kentucky), 2001. Visiting Artist, Savannah College of Art & Design, 2008. LECTURER Trinity College.  Hartford, Connecticut.  1977. 2000 Worcester Museum.  Worcester, Massachusetts.  1977. Smith College.  Northampton, Massachusetts.  1977.  1982, 1995,  1996, 2000, 2003. George Walter Vincent Smith Museum.  Springfield, Massachusetts.  1979. The Typophiles.  N.Y.C.  1979. Society of Printers.  Boston, Massachusetts.  1979.  1982.  1998. 2001 University of California.  Bancroft Library.  Berkeley, California.  1980. Amherst College.  Amherst, Massachusetts.  1981. University of Houston.  Houston, Texas.  1981. Missouri Botanical Gardens, St. Louis, Missouri. 1981. University of Houston, Houston, Texas, 1981 Georgetown University.  Georgetown, Virginia.  1981. Dartmouth College.  Hanover, New Hampshire.  1982.  1987. Wellesley College.  Wellesley, Massachusetts.  1982. Scripps College.  Claremont, California.  1982. Houghton Library at Harvard.  Boston, Massachusetts.  1982. Smithsonian Institution. Washington. D.C.  1982. Boston Public Library.  Boston, Massachusetts.  1982.  1984.  1985.  1986. 92nd Street YMCA, New York City, 1983 Clark University, Worcester, Massachusetts, 1983 Yale University.  New Haven, Connecticut.  1983.  1984. Mark Twain Memorial. Hartford, Connecticut.  1985. The New York Public Library.  N. N.Y.C.  1985. The Art Institute of Chicago.  Chicago, Illinois.  1986. St. John’s School, Jacksnville, Florida, 1986 Carnegie Mellon Library.  Pittsburgh, Pennsylvania.  1986. Friends of Southern Methodist University Libraries.  Dallas, Texas.  1986. N.Y.C. Science Fiction Writers of America.  1987. University of Georgia.  Athens, Georgia.  1989, 2001. University of Kansas. 1988, 1997. Rhode Island School of Design.  Providence, Rhode Island.  1989, 1999. American Library Association Pre-conference.  Chicago, Illinois.  1990. Vassar College.  Poughkeepsie,  New York.  1990. Williams College.  Children’s Literature New England.  1991. Keene (NH) State College Children’s Literature Festival.  1991. Drexel University Children’s Literature Conference.  March 1992. American Booksellers Association Breakfast.  Anaheim, California.  May,1992. Art Center School, Pasadena California. 1992. Upper Midwest Booksellers Association.  Minneapolis, Minnesota.  1992. Pacific Northwest Booksellers Association.  1992. Onandaga County Public Library, Syracuse, NY, 1992 Children’s Literature Conference.  University of Southern Mississippi.  1993. Conference on Southern Autobiography.  University of Central Arkansas.  1993, 2000.   Vassar College.  Poughkeepsie, New York. 1993, 1996. Irving Art Center.  Irving, Texas.  1993. Mount Holyoke College.  Children’s Literature New England.  1994. Friday Children’s Books. Book Nooks & Krannies. Merrimack, NH 1994. Flannery O’Connor Symposium.  Georgia College.  Milledgeville,  Georgia.  1994. Conversations With..., The Foundation for Children’s Books, Newton, Ma. 1995. Princeton University, Princeton, New Jersey. 1995. First Annual Rare Book Seminar, Smith College. 1996. Eudora Welty Film and Fiction Festival, Jackson, Mississippi. 1996. Kaleidoscope VI, Calgary, Alberta, Canada, 1996. Clemson University, Clemson, South Carolna, 1996. University of Oklahoma, Norman, Oklahoma, 1996. University of Iowa, Iowa City, Iowa, 1991, 1996, 1999 The Center for the Book, Iowa City, Iowa, 1996. 1999 Hallmark Symposium, The University of Kansas, Lawrence, Kansas, 1997. Perspectives in Children’s Literature, University of Massachussetts, Amherst, Massachusetts, 1994 , 1997. National Yiddish Book Center, Amherst, Massachusetts 1998. Southern Methodist University, Dallas, Texas, 1999. Minneapolis Museum of Art, Minneapolis, Minnesota, 1999. The National Cathedral, Washingon, DC, 1999. The Cathedral of St. John the Divine, New York City, 1999. The Museum of Printing History, Houston, Texas, 1999. Dartmouth College, Hanover, New Hampshire 1999 Connecticut College, New London, Connecticut, 2000. International Festival of Authors, Toronto, Ontario, 2000 Museum of Fine Arts, Springfield, Massachusetts 1995, 2000 Arrowhead, Herman Melville’s Home; Pitsfield, Massachusetts 2000 The Century Club, Springfield, Massachusetts 2000 Springfield College, Springfield, Massachusetts 2000 Experiment: The International Conference of Calligraphers, Rhonert Park, California, 2000. The Hunter Museum of American Art, Chattanooga, Tennessee 2000 Chapel of the Cross, Madison, Mississippi, 2000 Calvin College, Grand Rapids, Michgan, 2000 University of Connecticut, Storrs, Connecticut, 2000 Conference on Southern Autobiography, Chattanooga, Tennessee, 2000 Oak Knoll Conference on the Book, Delaware, 2000 Delaware Museum of Art, Wilmington, Delaware, 2000 Connecticut College, New London, Connecticut, 2000 Savannah Public Library, Savannah, Georgia, 2000 Trinity College, Hartford, Connecticut, 2000 Center for Renaissance Studies, Amherst, Massachusetts, 2000 Museum of Fine Arts, Springfield, Massachusetts, 2000 The Century Club, , Springfield, Massachusetts, 2000 Cincinnati Public Library, Cincinnati, Ohio, 2000 Society of Printers, Boston, 2001 Auburn Theological Seminary, the Grolier Club, NYC, 2001 St. Michaels’ Cathedral, Springfield, Massachusetts, 2001 Longwood College, Farmville, Virginia 2001 Perspectives in Children’s Literature, University of Massachusetts, Amherst, 2001 Town and Country Club, Hartford, Connecticut, 2001 Westfield State College, Westfiled, Massachusetts, 2001 Springfield Technical Community College, Springfield, Massachusetts, 2001 The Third Memorial Flannery O’Connor Lecture, Georgia State University, Milledgeville, Georgia, 2001. Georgia Museum of Art & University of Georgia, Athens, Georgia, 2001. Speed Art Museum, Louisville, Kentucky, 2001. Geneva Fellowship, Queen’s University, Kingston, Ontario, 2001. Dickinson College, Friends of the Library Lecturer, Carlisle, Pennsylvania, April, 2002. Massachusetts College of Art, Boston, Massachusetts, 2002 Nashville Public Library, Nashville, Tennessee 2002 Hartwick College, Oneonta, New York, 2002. Pennsylvania State University, State Park, Pennsyvania, 2002. Eric Carle Museum, for the Grolier Club, Amherst, Massachusetts, 2003 Mt. Holyoke College, South Hadley, Massachusetts, Department of Religion, 2003. Perkins School of Theology, Bridwell Library, Dallas, Texas (SMU), 2003. National Yiddish Book Center, Amherst, Massachusetts,  2003. Northeast Typography Congress, Lunenburg, Vermont,  2003. The Grolier Club, New York City, 2004 “Ohio Collects,” Ohio State College/Aldus Society; Columbus, OH, 2004 The Glen Workshop, Image/St John’s College, Santa Fe, NM, 2004, 2005, 2006, 2007, 2008, 2009  Episcopal Cathedral, Springfield, Ma., 2006 Deerfield Women’s Club, Deerfield, Ma., 2006 Hatfield Public Library, Hatfield, Ma., 2006. University of Massachusetts, Children’s Literature Festival, Amherst, Ma., 2006, 2008. Calvin College, Festival of Faith & Writing, Grand Rapids, Mi., 2004, 2006, 2008. The Baylor School, Chattanooga, Tn., 2006 North Bennett School of Craft, (Commencement Speech), Boston, Ma., 2006 Museum of Folk Art, Santa Fe, NM., 2006 Nashville Public Library, Nashville, Tn., 2006 Eric Carle Museum of Picture Book Art, Amherst, Ma., 2006, 2009 (x2), Christopher Newport University, Newport News, Va., 2006. Zea Mays Printmaking Workshops, Florence, Ma., 2007, 2008. Flannery O’Connor Symposium,  “Flannery & Faulkner,” Milledgeville, Ga., 2008 Savannah College of Art & Design, Savannah, Ga., 2008. Lyndon State College (commencement  speech), Lyndonville, Vt., 2008. University of Hawai’i, Children’s Literature Hawai’i, Honolulu, 2008 Skidmore College, Saratoga Springs, NY., 2008. Worcester State College, Woprcester, Massachusetts, 2009. Saint Louis School of Pharmacy, St Louis, Missouri, 2009. Kent State University, Kent, Ohio, 2009. Williams College at Mystic Seaport, Mystic, Connecticut, 2009 Poe and the Writers and Artists of New England, University of Massachusetts, 2009. Syracuse University, Syracuse, New york, 2009. PUBLIC AND PRIVATE COLLECTIONS The MetropolitanMuseum of Art. Special Collections. New York City. The National Galleryof Art.  Special Collections.  Washington D.C. The American Bible Society, New York City. The Art and Design Library.  Manchester  Polytechnic.  Manchester, England. The Brandywine Museum, Chadds Ford, Pennsylvania. Beineke Library.  Yale University.  New Haven, Connecticut. The Berkshire Museum.  Pittsfield, Massachusetts. Boston Athenaeum.  Boston, Massachusetts. The Boston Public Library, Boston, Massachusetts Brigham Young University, Provo, Utah. The British Museum.  London, England. Brown University. Providence, Rhode Island. Cambridge University.  Cambridge, England. Dartmouth College.  Hanover, New Hampshire. Georgetown University.  Georgetown, Virginia. Goldfarb Library.  Brandeis University, Waltham, Massachusetts. The Grolier Club. New York, New York. The Grunwald Collection. Armand Hammer Museum. Los Angeles, California. Hampshire College, Amherst, Massachusetts. Houghton Library.  Harvard University.  Cambridge, Massachusetts. The Hunt Botanical Library.  Carnegie-Mellon University.  Pittsburgh, Pennsylvania. Illinois State University, Normal, Illinois. Iowa State University, Ames, Iowa. The Library of Congress.  Washington, D.C.  London College of Printing, London. Minneapolis Society of Fine Arts.  Minneapolis, Minnesota. Missouri Botanical Gardens.  St. Louis, Missouri. Morton Aboretum.  Lisle, Illinois. Nashville Public Library Special Collections, Nashville, Tennessee. National Art Library, V&A Museum, London, GB. National Library of Australia.  Sydney, Australia. National Library of Scotland, Edinburgh, Scotland National Gallery of Art, Washington, DC Newberry Library.  Chicago, Illinois. New Britain Museum of American Art.  New Britain, Connecticut. New York Public Library. New York, New York. Norfolk Library, Norfolk, England. Ohio State University, Columbus, Ohio. Pierpont Morgan Library, new York City, New York. Princeton Theological Seminary, Princeton, New Jersey. Pennsylvania State University, State Park, Pennsylvania. St. John’s University, Colegeville, Minnesota. Stanford University. Stanford, California. Swarthmore College, Swarthmore, Pennsylvania. Syracuse University.  Syracuse, New York. Trinity College. Hartford, Connecticut. Tulane University.  New Orleans, Louisiana. University of British Columbia. Canada. University of California at Berkeley University of California at Los Angeles, Los Angeles, California. University of Connecticut, Storrs, Connecticut. University of Georgia,  Athens, Georgia. University of Iowa,  Iowa City , Iowa. University of Manitoba, Manitoba, Canada. University of North Carolina.  Chapel Hill, North Carolina. The University of Pittsburgh, Pittsburgh, Pennsylvania. University of Rhode Island.  Kingston, Rhode Island. University of Tasmania.  Hobart, Tasmania. University of Washington.  Seattle Washington. University of Waterloo.  Ontario, Canada. University of Wisconsin.  Madison, Wisconsin. University of Louisville, Louisville, Kentucky. Vassar College Library.  Poughkeepsie, New York.  Victoria and Albert Museum.  London. Wellesley College.  Wellesley, Massachusetts. The Worcester Museum of Art.  Worcester, Massachusetts. Wurttembergissche Landesbibliothek.  Stuttgart, Germany. The Nashville Public Library, Nashville, Tenessee. York University.  Ontario, Canada. The Vatican Library, Rome (Vatican City), Italy. The Israel Musem, Jerusalem, Israel. Queen’s University, Kingston, Ontario. The Eric Carle Museum of Picture Book Art, Amherst, Massachusetts. The Kerlan Collection, University of Minnesota, Minneapolis, Minnesota. The Glenbow Museum, Calgary, Alberta, Canada. Savannah College of Art & Design, Savannah, Georgia. The Brandywine Museum, Chadds Ford, Pennsylvania. PARTIAL  BIBLIOGRAPHY Articles by, about, mentioning  or illustrated by Barry Moser YANKEE MAGAZINE.  October, 1978.  p. 13. FINE PRINT.  Vol. IV.  No. 3,  p. 65,  July 1978. THE PRINTED BOOK IN AMERICA.  Joseph Blumenthal;  Godine-Dartmouth.  1977.  p. 34. ANTIQUARIAN BOOK MONTHLY REVIEW.  London.  Vol. VI,  No. 58,  Feb. 1978.  p. 65. PUBLISHERS WEEKLY.  March 19, 1979.  July 6, 1984.  February 7, 1986.  June 15, 1992. NEWSWEEK.  March 1, 1982. CHRISTIAN SCIENCE MONITOR.  February 2, 1982. PEOPLE MAGAZINE.  April 12, 1982.  July 2, 1990. AMERICAN ARTIST.  April 1982. ILLUSTRATION 63, ZEITSCHRIFT FÜR DIE BUCHILLUSTRATION.  “Barry Moser—Ein amerikanischer Holzstecher und Pressendrucker;  Memmingen, Germany Curt Visel; 1982. LOS ANGELES WEEKLY.  November  1985. ENGLISH LANGUAGE NOTES.  December  1982. THE VILLAGE VOICE.  April 26, 1983. ARTS MAGAZINE.  March,  1983. THE BOSTON GLOBE.  November 1983.  September 1985. THE SAN FRANCISCO EXAMINER.  March 1985.  May 7, 1986. THE NEW YORK TIMES BOOK REVIEW.  June 1983.  November 1985.  February 1, 1987.  July 20, 1990. CHICAGO TRIBUNE MAGAZINE.  January 27, 1985. THE ONTARIO REVIEW.  No. 23,  1985.  No. 33,  1990. AMERICAN TRADITIONS IN WATERCOLOR.  Abbeville Press.  1987. THE ART OF SEEING.  Prentice-Hall.  1988. LIVING IN WORDS.  Gregory McNamee.  ed.  Breitenbush Books.   Portland.  1988. JASPER JOHNS, Work Since 1974, Mark Rosenthal, Philadelphia Museum, 1988, pp. 73–75. WATCHING.  Harlan Ellison.  Underwood-Miller,  1989. CHILDREN’S BOOK ILLUSTRATION AND DESIGN.   Julie Cummins.  PBC Library of Design.  1992. SOMETHING ABOUT THE AUTHOR, Gale Research, Vol. 15, 1993. THE VERY BEST OF CHILDREN’S BOOK ILLUSTRATORS, North Light Books, 1993. BOOKWAYS, A Quarterly Journal of Book Arts, No. 11, April 1994. THE ILLUSTRATED ROBERT LOUIS STEVENSON, John Scally, Canongate in association with National Library              of Scotland, 1994. UNPAINTED TO THE LAST, Moby-Dick and Twentieth Century American Art, Elizabeth A Schultz, Kansas, 1995. KICKING BACK: FURTHER DISPATCHES FROM THE SOUTH, John Shelton Reed,              University of Missouri Press, 1995, p. 26. THE ECOLOGY OF DESIGN, J. Ortbal, M. Lange & M. S. Carroll,  The AIGA Press, New York, NY, 1996. ROMANCE LANGUAGES ANNUAL, J. Beer, P. Hart, B. Lawton, Purdue Research Foundation, West Lafayette,                Indiana, 1996. CONTEXT CONSIDERED,Perspectives in American Art, Linda J. Doherty,  Bowdoin College Museum of Art, 1996. PRINCETON UNIVERSITY LIBRARY CHRONICLE. Vol. LVII, No. 2, Winter 1996. ROMANCE LANGUAGES ANNUAL Vol. VII, Jeanete Beer, Patricia Hart, Ben Lawton,              Perdue Research Foundation, 1996. VANITY FAIR, MOMA’s Boy, Edmund White, September 1996. NATIVE TENNESSEE AUTHORS AND ILLUSTRATORS, Phenicie, Nashville, 1996. BOOKS ILLUSTRATED, edited by Michele V. Cloonan, Smith College, Northampton, Massachusetts, 1997. IMAGE, A Journal of the Arts & Religion, “Barry Moser’s Bible,”  Kennet Square, Pa., No. 21, Fall 1998. RECEARCH IN REVIEW, Florida State University, “Remembering Remus,” by Frank Shephenson, Vol. ix, No. 1,              Spring/Summer 1998, p. 27. ART NEW ENGLAND, “The Passion of Barry Moser,” by Sara London, October/November 1999 A NEW PICTURE OF THE BIBLE, San Francisco Chronicle, by Jesse Hamlin, October 26, 1999. YANKEE MAGAZINE, “The Man Who Made the Bible,” by Robert Sullivan, April 2000. “BOOK OF BOOKS;” Nicholas Basbanes; Gazette of the Grolier Club, New Series; Number 51; 2000; pp 65–80. CROSS CURRENTS, “A Terrible Beauty: Moser’s Bible,” by Catherine Madsen, Summer/Spring 2000. BOOK LOVE: Creating Good Books for Children in an Age That Values Neither, Juanita Havill, ed., E & L Books, Phoenix              College Press, Phoenix, Arizona, 2000. BOOKLIST, “Computers and the Art of Picture-Book Ilustration,” by Catherine Phelan, December 15, 2000. WOOD ENGRAVING: HOW TO DO IT; by Simon Brett, Primsore Press, London, 2000; page 108. MASSACHUSETTS CENTER FOR RENAISSNACE STUDIES, “A Companion to Owls,” Spring, 2001 NEW YORK TIMES, “Still Huffin and Puffin,” Sean  Kelly, May 20, 2001. CROSS CURRENTS, “Blood and Stone: Violence in the Bible & The Eye of the Illustrator,” by BM,              Volume 51, No. 2; Summer 2001. PATIENCE & FORTITUDE; Nicholas Basbanes; Harper Collins; NYC; 2001 pp 245–46, 248–50, 251, 252–54, 255–61, 571n. ART OF THE BOOK;  James Bettley; Victoria & Albert Publications/Abrams; 2001 THE LIBRARY QUARTERLY, “Imaging the Word,” by BM, Vol. 71, October 2001; University of Chicago Press. LEVIATHAN: A JOURNAL OF MELVILLE STUDIES; Artists after Moby-Dick; “The Common Continent of Men:              Visualizing Race in Moby-Dick,” by Elizabeth Schultz; Vol. 3, No 2; October 2001; p. 20. THIRTY DAYS; Paul Mariani; Viking; New York, New York, 2002; pp 64, 204. FLANNERY O’CONNOR REVIEW. “A Feeling for the Vulgar,” by BM, forthcoming , Fall 2002. SEWANEE REVIEW, “Across the Street and Up the Hill,” by BM, Vol. CX  No. 1, Winter; pp 44–55;  2002. NewsSMITH, “The Pedagogy of Typography,” Ann Shanahan; Smith College office of College Relations,              Spring 2002; pp 4-5 An Engraver’s Globe, Simon Brett, Primrose Hill Press, London, GB,; pp 274, 275, and frontispiece; 2002. RALEIGH METRO MAGAZINE; “The Fine Attitude of Life: Kaye Gibbons Talks about “Raised by Hand;” by Art Taylor,                 March 2002; p.50. CROSSCURRENTS ,Vol. 52 No. 2.; “Uncomfortable, Uncertain, and Unarmed;” by BM; Summer 2002; CAXTONIAN: The Journal of the Caxton Club of Chicago, “Barry Moser—engraver, bookman,” Robert mcCamant,             Volume X. No. 9, September 2002, p. 5. CHILDREN’S WRITER; Vol 12, No. 14. “Ilustrator Barry Moser on the Future of the Book , and Interview with              Anna Olswanger; Novemerb 2002.   Typographically Speaking: The Art of Matthew Carter: Margaret Re; Albin O. Kuhn Libray and Gallery;              University of Maryland, Baltimore; 2002 THE NASHVILLE TENNESSEAN; “Illustrator Makes His Mark on Classic Literature;” Elizabeth Kruse,              October 4, 2002. IMAGE, A Journal of the Arts and Religion; “An Interview with Barry Moser by Paul Mariani,”              November 2002, Number 36. PARNASSUS: The Allen R. Hite Museum Institute Graduate Journal; “A Conversation with Barry Moser;”              by Felicia Sachs; University of Louisville; December 2002.  SOJOURNERS MAGAZINE; Meanderings Column: “A Few of my Favorite Things;” March–April 2003; page 51. PORTI DI MAGNIN:  Periodico di Arti Scienze e Cultura; ‘Dal Mondo per “Smens”: Xilographia dal Pianeta Terra;             Gianfranco Schialvino; No.53, Aprile 2003; Mondovi. Italia; p. 7. POST ROAD; “Sacred and Vulgar: the Influences of Flannery O’Connor on the Illustrations for the Pennyroyal Caxton              Bible,” by BM; New York, NY; summer 2003. SOUTHEAST MISSOURIAN; “Unusual and Unpredictable: Illustrations of Barry Moser, Cape Girardeau, Missouri;              June 20, 2003. PREZGLAD POLSKI; Sviezka przez miasto, witac gwiazdy (Through the City towards the Stars); Grazyna Drabik;              Warsaw (?), Poland; 25 March (?Kwietnia) 2003. SOCIETY OF BIBLICAL LITERATURE; SBL Forum; September, 2003. THE EUDORA WELTY NEWSLETTER;  “Barry Moser, The Robber, and Eudora Welty,” by John Bayne. Vol XXVIII             No. 1, Winter 2004. MADE BY HAND, Jeanne Braham, Commonwealth Editions, Winter 2004. IMAGE: A Journal of Arts and Religion,  “Nothing New Under the Sun: Thoughts on the Future of Art,”             article by BM, Vol No. 42, P 76-79,  Summer, 2004. THE SOUTHERN REVIEW: “Shreds & Patches: Notes on Portraiture,” an essay by BM; Winter, 2005 FLANNERY O’CONNOR REVIEW; “Illustration as an Act of Vision,” an essay by BM with three engravings;              Volume 3 (Spring),  2005. NEW YORK MAGAZINE, “ The George Soros of the Right;” p.26-31; August 1-8, 2005. THE BOSTON GLOBE, “Agnostic Puts Skill to Use for Friend;” p B2; September 24, 2005. ENCYCLOPEDIA OF CHILDREN’S LITERATURE, Jack Zipes, ed.; Oxford University Press, Oxford & NY; 2005. VISUAL COMMUNICATIONS QUARTERLY, “Designing The Holy Bible: Arguing the text through the Form,”              Patsy Watkins, Vol 15, No. 1–2; pp 17-30, January June, 2008 WORLD LITERATURE TODAY, “A Cottage in the Woods,” essay by BM, Vol. 82. No. 5, September-October 2008. PARENTHESIS 15: The Journal of the Fine Press Book, book review by BM (Designing the Mentoring Stamp),                      Autumn 2008, p. 37. NORTHERN WOODLANDS; Winter 08; The Outdoor Palette, p 79. MEDIA  Channel 4.  San Francisco, California.  February 1979. N.P.R.  Washington, D.C.  March 1979. Channel 7.  Boston, Massachusetts.  July 1982. Channel 22.  Springfield, Massachusetts.  October 1982.  December 1986. April 1997. Wilderness, A Country, a film by Raun Fulton, The Wilderness Society, 1984 WNYC, NYC.  “Senior Edition”  with Pegeen Fitzgerald.  1985. CBS Radio. NYC  “ Book Beat”  with Don Swain. 1985.  1990. WELI Radio.  New Haven, Connecticut.  “Jerry Dunklee Show”  May 1985. Channel 40.  Springfield, Massachusetts.  1986. CNN News.  January  1987. ONE NORWAY STREET.  WQTV.  Boston.  July  1990. Channel 7.  Boston.  “Our Town.”  July  1990.  August  1991. THE TODAY SHOW.  September 26, 1991. F/X  THE PET SHOW.  December  1994. MORNINGSIDE, Canadian Broadcasting Corporation, April 1, 1997. KARE-TV (NBC) “News Today,” Minneapolis, Minnesota, October 12, 1999. Bloomington Public TV, “Author, Author,” Bloomington, Minnesota, October 12, 1999. WCAL-FM (NPR), Minneapolis, Minnesota, October 12, 1999. KTCA-TV (PBS),  “Newsnight Minnesota,” Minneapolis, Minnesota, October 12, 1999. KMSP-TV,  “News at 9 and 10,” Eden Prairie, Minnesota, October 12, 1999. Metro Networks Radio, Washington, DC, October 13, 1999. ABC RAdio, “Perspectives,” Washington, DC, October 13, 1999. C-Span2, “Book TV,” Washington, DC (filmed live at The National Gallery October 13),               aired December 25 & 26 and others. KSDK-TV, “News at Noon,” St. Louis, Missouri, October 14, 1999. KMOX-AM, “World of Religion,” October 14, 1999. KJSL-AM, “The Debra Peppers Program,” St. Louis, Missouri, October 14,  1999. KPOO Radio, “Overboard,” San Francisco, California, October 25, 1999. NPR-FM, “The Dick Staub Show,” Pctober 26, 1999. Evergreen Radio (NPR-FM), “Literary News,” Seattle, Washington, October 26, 1999. KBOO Radio, “Between the Covers,” Portland, Oregon, October 27, 1999. KUSA-TV (NBC), “Noon News,” Denver, Colorado, October 28, 1999. WBUR-FM (NPR), “The Connection with Chris Lydon” Boston, Massachusetts, November 2, 1999. WSBE-TV (PBS), “Bestsellers,” Providence, Rhode Island, November 4, 1999. WAMU-FM (NPR), “The Diane Rehm Show,” November 9, 1999. KTRS Radio, St. Louis, Missouri, December 7, 1999. WLBT-TV, “Noon Report,”  Jackson, Mississippi, December 7, 1999. WJTV-TV, “Noon News,” Jackson Mississippi,  December 8, 1999.  WKTU FM Radio, “Interfaith Connection,” New York City, December 13, 1999. CNN-TV, Headline News, (filmed at Cathedral of St. John the Divine, New York City, December 13, 1999),              aired Decembr 25 & 26, 1999. WOXD-FM, “Thacker Mountain Radio,” Oxford Mississippi, May 11, 2000 WNET NYC, “A Thief Among the Angels,” a flim about the making of the Pennyroyal  Caxton Bible  by the Kessler Brothers, August 24, 2000 (and other PBS stations as well).  Broadcast PBS-13, NYC; PBS-WGBY, Boston affiliate; PBS/WKEY, Kentucky  affiliate; DUTV/Philadelphia; film festivals including DoubleTake (NC); Cucalorus  (NC); Arizona International (2001); New Haven (CT 2001), Athens (OH 2001), Rhode Island (2001), Breckenridge (CO 2001), and The Religious Arts Festival, Birmingham (AL 2001); recipient of several national film awards including the Gold Medal 2000 Telly Awards and the Best Documentary, Northampton (MA) Film Festival, 2000. “Picture Perfect Jesus,” a film by Lyle Jackson (BM interviewed), United Methodist Communication,              Nashville, Tennessee, 2000. “Loaded Gun: Life, and Death, and Dickinson,” An independent film about Emily Dickinson              by Steve Gentile and Jim Wolpaw. 2002. “Great Books: Wizard of Oz;” Cronkite Ward, producers for The Learning Channel; 2003. Ben Birnbaum at Boston College. Posted Boston College WWW October 15, 2005. ARCHIVES The Baker Library.  Dartmouth College.  Hanover, NH. The Houghton Library.  Harvard University.  Cambridge, MA. The Research Library.  UCLA.  Los Angeles, CA. Children’s Literature New England Collection, Homer Babbidge Library.  University of Connecticut,  Storrs, CT. The Children’s Literature Research Collections (The Kerlan Collection) Elmer L. Andersen Library,             Minneapolis, Minnesota. The Barry Moser Collection, Lupton Library, University of Tennessee at Chattanooga, Chattanooga, Tennessee. Vanderbilt University, Nashville, Tennessee. A Conversation with Barry Moser I understand that you consider yourself a booksmith. What exactly does this mean? A booksmith is a person who designs a book, does all the typography as well as any calligraphy that might be needed for it (though I often bow to better calligraphers if I need a style I am not proficient in), designs the bindings as often as not, and does the illustrations. How did you begin your career as an illustrator and booksmith? And more specifically, what led you to do engravings? I came to illustration “through the back door,” you might say. I was trained as a painter in oils. During my second year in college [1959] I saw a wood engraving by the late painter and sculptor Leonard Baskin, was smitten by it, and determined that one day I’d try my own hand at it. Ten years later I did, and as it happened I had left my home state, Tennessee, and moved to Massachusetts to teach. I landed in a town next to the one where Baskin lived. Eventually, I met him and was introduced to his printing shop, the Gehenna Press. It was there that I saw handmade books for the first time and again was smitten. I subsequently learned how to set type, how to know and choose good papers, how to run a printing press, and ultimately how to engrave wood. I had never thought about illustration in the least until I saw those fine books of Baskin’s. I printed my first book in 1970 from handset metal type, printed on handmade Italian paper on a 12 x 18 Chandler Price printing press. A Conversation with Barry Moser Chronicle Books (red) Barry Moser (black) Barry Moser, the illustrator and designer of Cowboy Stories (September 2007) and Scary Stories (2006) offers us a peak inside his world. Widely known in artistic circles for his ink engravings, Mr. Moser has brought over 20 classic Western stories to vivid and haunting life in his latest work, Cowboy Stories. In this second compilation of stories geared to a young adult audience, Mr. Moser has masterfully created deep and sometimes chilling illustrations, thereby shedding a new light on the Old West. Mr. Moser illustrates daily from his studio in western Massachusetts, save only when he breaks to teach at nearby Smith College. Chronicle Books speaks to Mr. Moser about his career as a booksmith and illustrator, and his personal take on the Western. The dull rumble of thousands of hooves While engraving is my medium of choice, I also work with various drawing media and techniques as well as watercolor. I seem to be drawn to unforgiving media, except for my love of the pencil. Its simplicity, immediacy, and “correctability,” make it an ideal tool for solving problems and for thinking one’s way through an entire book. Do you connect personally to the Western theme of Cowboy Stories? Were you asked to illustrate certain moments in the stories, or did those come of your own choosing? I have always been a fan of Western movies—ever since my childhood days with Hopalong Cassidy, Gene Autry, and Roy Rogers—but had read little Western literature until I undertook this collection. And I have to say that I was quite taken with it. There was a lot more really good writing than I had supposed. And when it came time to do the engravings, I went back to my collection of books on the Western film as my basic source, resulting in what I think of as a personal paean to the genre. Much larger manuscripts were sent to me than were finally in the book. My “choices” were certainly noted with all due seriousness and certainly did influence the final content, but my editor had as much input as I did. The choice of what scene or character to represent within each story was my own. How do you begin work on a project? What is your daily routine like? I always begin by reading the text, not once but three times. First I read it for sense. Then I read it a second time with a notepad, making notes and a comprehensive list of possible illustrations (and those are always the subjects that appeal to me most, like the figure, animals, nocturnal scenes, faces, and the grotesque). I read it a third time with my notes and lists and try to find a thread that runs through the entire sequence of images and even though that’s an easy sentence to write, finding that thread is most often an elusive act. As far as the day-to-day routine goes, I rise early, around seven or so. I make coffee and feed the animals (two English mastiffs and four cats). I read for an hour or two, mostly news and politics, and then settle in to work. I work till lunchtime and take a break. After lunch I go back to work until six or thereabouts. I then shut down the studio, fix dinner, come home and watch a film or something on educational TV (I hate network TV with a passion), and afterward sleep until seven the next morning when I get up and repeat all the above. This I do seven days a week excepting the days I teach at Smith. And of course, my day is often broken up by family affairs, meetings, doctors’ appointments, and the like. This is my schedule for 50 weeks of the year usually, though in the past few years my wife and I have been traveling more than we used to. Praise for BARRY MOSER: “Moser’s work is never less than dazzling.” –Newsweek Praise for Scary Stories: “Dishing up a deliciously disturbing blend of new and old terrors . . . this will be fine bedtime reading.” –Booklist “Scary Stories is a volume that is sure to become a classic all on its own.” –BookPage The engraving illustrations for Cowboy Stories are particularly eerie, and certainly suggest darker tones than do the title of the book. “There was a leak in the canteen” (p 133) features three menacing vultures hovering closely over an open canteen and a human skull that seems to be grinning. Each of your illustrations, like this one, is visually stunning yet gruesome at the same time. Is this a conscious attempt at illustrating the stories? I have a bent towards the grotesque. To the strange, if you will. I have been very much influenced by two people who were masters of the grotesque: Flannery O’Connor and Leonard Baskin. I have also been influenced by the early Quattrocento [fifteenth-century Italian cultural and artistic movements] painters, engravers, and others of that ilk from all periods. I can’t really think of a relationship directly to the spookiness in Cowboy Stories except as it relates to the movie experiences I had as a kid. Back then they were all black and white, and I was often scared to death by them, especially the horror films, notably Abbott and Costello Meet Frankenstein. So, the “film experience” for me as a small child was in and of itself a spooky event. Did you have a favorite moment in Cowboy Stories or Scary Stories? Do you prefer one book to the other? I have to admit that in Cowboy Stories I most enjoyed (if that’s a proper verb in this case) Annie Proulx’s story about the man-eating horse, “The Blood Bay.” Likewise with Truman Capote’s eerily disturbing tale about the evil little Miriam (in Scary Stories). I suppose the character of the two stories reveals my penchant for the grotesque and bizarre. About my liking one book over the other, I have to say “no.” But in that I am always the fondest of my most recent work, I have to say “yes.” Cowboy Stories trumps Scary Stories on that one note. There was a leak in the canteen Cowboy Stories Includes works by Larry McMurtry, Elmore Leonard, Louis L’Amour and others. $16.95 HC · Ages 12 and up ISBN-10: 0-8118-5418-3 ISBN-13: 978-0-8118-5418-4 7 x 9 inches, 184 pages b&w illustrations Scary Stories Includes works by Bram Stoker, Stephen King, Joyce Carol Oates, Edgar Allan Poe and others. $16.95 HC · Ages 12 and up ISBN-10: 0-8118-5414-0 ISBN-13: 978-0-8118-5414-6 7 x 9 inches, 184 pages BARRY MOSER was born in Chattanooga, Tennessee in 1940. He was educated at a military academy there, The Baylor School, then at Auburn University and the University of Tennessee at Chattanooga. He did graduate work at the University of Massachusetts at Amherst in 1970. He studied with George Cress, Leonard Baskin, Fred Becker, and Jack Coughlin. His work is represented in numerous collections, museums, and libraries in the United States and abroad, including The National Gallery of Art, Washington, The Metropolitan Museum, The British Museum, The Library of Congress, The National Library of Australia, The London College of Printing, The Pierpont  Morgan Library, The Vatican Library, Harvard University, Yale University, Dartmouth College, Cambridge University, the Israel Museum and Princeton University to name a few. Mr. Moser has exhibited internationally in both one-man and group exhibits. He is a member of the Society of Printers, Boston; an Associate of the National Academy of Design elected in 1982 & made full Academician in 1994; and was a founding trustee of the Eric Carle Museum of Picture Book Art. He was awarded the Doctor of Fine Arts degree by Westfield State College, Westfield, Massachusetts (1999), the Doctor of Humanities degree by Anna Maria College, Paxton, Massachusetts (2001), and the Doctor of Fine Arts degree from Massachusetts College of Art, Boston, Massachusetts (2003).    In addition to being an illustrator he is also a printer, painter, printmaker, designer, author, essayist, and teacher. Mr. Moser frequently lectures and acts as visiting artist and artist in residence at universities and institutions across the country. He is on the faculty of the Illustration Department at the Rhode Island School of Design, was the 1995 Whitney J. Oates Fellow in Humanities at Princeton University, was artist and writer in residence in the Children’s Literature department at Vassar College in 1998, and is currently on the faculty of Smith College where he is Professor in Residence in the Department of Art and serves as Printer to the College. In the fall of 1999 he was artist in residence at Dartmouth College and the University of Iowa. He was the Elliott lecturer in the book arts at the International Festival of Authors in Toronto in the fall of 2000, and in the fall of 2001 was the Distinguished Visiting Scholar at the University of Louisville. Mr. Moser lives in western Massachusetts with his wife, two English mastiffs and four cats. He has three grown daughters and nine grandchildren.   The books Moser has illustrated and/or designed forms a list of over three hundred titles. That list includes the Arion Press Moby-Dick and the University of California Press The Divine Comedy of Dante. Moser's edition of Lewis Carroll's Alice's Adventures in Wonderland, won the National Book Award for design and illustration in 1983 and prompted the poet John Ashbery writing in NEWSWEEK (March 1, 1982), to call Moser's work “never less than dazzling.” Mr. Moser was honored as a “New England Living Treasure” in 1983 by the New England Artist Festival. His Jump, Again! The Further Adventures of Brer Rabbit, was named by The New York Times as one of the “Ten Best Illustrated Children's Books” of 1987 as well as one of Redbook's Best Books for Children for that same year. His collaboration with Cynthia Rylant, Appalachia, the Voices of Sleeping Birds, won the prestigious Boston Globe-Horn Book Award in 1991, and his collaboration with Ken Kesey, Big Double the Bear Meets Little Tricker the Squirrel, was named one of the best books of 1990–1991 by the International Board of Books for Young People of Zurich, Switzerland. His collaboration with his granddaughter, Isabelle Harper, My Dog Rosie was named a Best of the Year by Parents Magazine in 1994. Whistling Dixie, his collaboration with Marcia Vaughn was a 1995 ALA Notable Book, as was his collaboration with Virginia Hamilton, When Birds Could Talk and Bats Could Sing, in 1997. He has won numerous citations and awards of merit from Communication Arts Magazine, Bookbuilders West, The American Association of University Presses, and The American Institute of Graphic Arts. His monumental work on the Pennyroyal Caxton Bible (1999) has been the subject of scores of articles in print, television, and radio as well as the subject of a documentary film called A Thief among the Angels. It was also featured in the only one-man exhibit ever to be mounted at the Library of National Gallery of Art in Washington D.C. by a living artist. It was exhibited in the summer and autumn of 2000 at the Israel Museum in Jerusalem as part of an exhibit called "The Bible in the Landscape."     Some Appreciations of Barry Moser’s Work   “The sample page from your Bible is splendid.  It’s the sort of thing that makes type designers think their work has not been in vain.”         —Matthew Carter to Barry Moser, December 1995   “Barry Moser is probably the most important book illustrator working in America today.”         —Nicholas Basbanes   “Moser moves from strength to strength.”         —John Updike   “Moser has the technical virtuosity to pull more out of a piece of wood than any other contemporary American engraver.”         —American Book Collector   “Moser’s imagination is rich undulating, and unfathomable.”         —Joyce Carol Oates   “Barry Moser’s illustrations are exquisite beyond the telling. He soars at an altitude where only such wondrous birds of passage as Lynd Ward and Rockwell Kent have tasted the wind. The passion, craft and imagination of Moser’s work have an impact that leaves the viewer speechless.”         —Harlan Ellison Illustrators2011_179 Barry Moser and Richard Michelson at the 22nd Annual Children’s Illustration Show Barry Moser was born in Chattanooga, Tennessee, in 1940. He put himself through his last two years of college as a Methodist preacher, but his calling to the ministry didn’t last. He was accepted into the Theological Seminary at Vanderbilt, but he declined to attend. He moved to New England and devoted himself to teaching and to learning for himself the crafts of etching and wood engraving. He later studied printing and typography at the Gehenna Press under the tutelage of Harold McGrath and Leonard Baskin. Since 1969, when he composed his first line of hand-set type, Moser has illustrated some of this century’s most beautiful private press books. World renowned for his children’s illustrations, wood engravings, watercolors, and reinterpretations of the classics, including the Pennyroyal Press editions of Alice in Wonderland, Through the Looking Glass, Frankenstein, Huckleberry Finn, The Wizard of Oz, and the Pennyroyal Caxton Edition of The Holy Bible, Barry Moser’s art is represented in numerous library and museum collections. His work has been published in more than two hundred books for children and adults. Barry Moser, who lives in western Massachusetts, is represented at R. Michelson Galleries, the premiere source of his wood engravings, watercolors, and fine art books since 1982. BARRY MOSER was born in Chattanooga, Tennessee in 1940. He was educated early on at a military academy there, The Baylor School, then at Auburn University, Auburn, Alabama, and the University of Tennessee at Chattanooga. He did graduate work at the University of Massachusetts at Amherst in 1970. He studied with George Cress, Leonard Baskin, Fred Becker, and Jack Coughlin. His work is represented in numerous collections, museums, and libraries in the United States and abroad, including The National Gallery of Art, Washington, The Metropolitan Museum, The British Museum, The Victoria & Albert Museum, The Library of Congress, The National Library of Australia, The London College of Printing, The Pierpont Morgan Library, The Vatican Library, Harvard University, Yale University, Dartmouth College, Cambridge University, The Israel Museum, and Princeton University to name a few. Mr. Moser has exhibited internationally in both one-man and group exhibits. He is a member of the Society of Printers, Boston; an Associate of the National Academy of Design elected in 1982 and made full Academician in 1994; and has been awarded the Doctor of Fine Arts degree by Westfield State College, Westfield, Massachusetts (1999) and Massachusetts College of Art (Boston), and the Doctor of Humanities degree by Anna Maria College, Paxton, Massachusetts (2001). He was nominated for the Chrysler Design Award in 2001.

In addition to being an illustrator, he is also a printer, painter, printmaker, designer, author, essayist, and teacher. Mr. Moser frequently lectures and acts as visiting artist and artist in residence at universities and institutions across the country. He was for many years on the faculty of the Department of Illustration Studies at the Rhode Island School of Design. He was also the 1995 Whitney J. Oates Fellow in Humanities at Princeton University and artist and writer in residence in the Children’s Literature department at Vassar College in 1998. In the fall of 1999 he was artist in residence at Dartmouth College and the University of Iowa. He was the Elliott lecturer in the book arts at the International Festival of Authors in Toronto in the fall of 2000. He was the Third Flannery O’Connor Memorial Lecturer, Georgia State College, Milledgeville, Georgia in 2001. He is currently Professor in Residence at Smith College where he also serves as Printer to the College. Mr. 
Moser lives in western Massachusetts.

The books Moser has illustrated and/​or designed form a list of over 300 titles including the Arion Press  Moby-Dick  and the University of California Press  The Divine Comedy of Dante.  Moser's edition of Lewis Carroll's  Alice's Adventures in Wonderland,  won the National Book Award for design and illustration in 1983 and prompted the poet John Ashbery writing in  NEWSWEEK  (March 1, 1982), to call Moser's work “never less than dazzling.” Mr. Moser was honored as a “New England Living Treasure” in 1983 by the New England Artist Festival. His  Jump, Again! The Further Adventures of Brer Rabbit,  was named by  The New York Times  as one of the “Ten Best Illustrated Children's Books” of 1987 as well as one of  Redbook 's Best Books for Children for that same year. His collaboration with Cynthia Rylant, Appalachia, the  Voices of Sleeping Birds,  won the prestigious Boston Globe-Horn Book Award in 1991, and his collaboration with Ken Kesey  Big Double the Bear Meets Little Tricker the Squirrel , was named one of the best books of 1990–1991 by the International Board of Books for Young People (the IBBY Awards) of Zurich, Switzerland. His collaboration with his granddaughter, Isabelle Harper,  My Dog Rosie  was named a Best of the Year by  Parents Magazine  in 1994.  Whistling Dixie,  his collaboration with Marcia Vaughn was a 1995 ALA Notable Book, as was his collaboration with Virginia Hamilton,  When Birds Could Talk and Bats Could Sing,  in 1997. He was also the recipient of the Toronto Public Library's Best 100 Books for Children and Teens: Advanced Picture Books Category Dippers by Barbara Nichol in 2003. He has won numerous citations and awards of merit from Communication Arts Magazine, Bookbuilders West, The American Association of University Presses, The American Institute of Graphic Arts, and the prestigious Umhoefer Prize for Achievement in the Humanities from the Arts and Humanities Foundation in 2006. His monumental work on the  Pennyroyal Caxton Bible  has been the subject of scores of articles in print, television, and radio as well as the subject of a documentary film called  A Thief Among the Angels.  It was also featured in the only one-man exhibit ever to be mounted at the Library of National Gallery of Art in Washington D.C. by a living artist. It was exhibited in the summer and autumn of 2000 at the Israel Museum in Jerusalem as part of an exhibit called "The Bible in the Landscape." Born in Chattanooga, Tennessee, Barry Moser is a printmaker, illustrator, printer, essayist, and teacher. He studied with George Cress, Leonard Baskin, Fred Becker, and Jack Coughlin. His work is represented in numerous collections, museums, and libraries in the United States and abroad, and he has exhibited both here and overseas in both one-man and group exhibits. He is a member of numerous professional societies and the recipient of honorary degrees in recognition of his contributions to the arts. He is a faculty member at both the Rhode Island School of Design in Providence, Rhode Island and at Smith College in Northampton, Massachusetts.
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