Overview of the Collection
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Repository Name:
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University of Oregon Libraries
Special Collections & University
Archives
1299 University of Oregon
Eugene, OR 97403-1299 USA
URL: http://libweb.uoregon.edu/speccoll/index.html
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Collection Number:
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Coll. 065
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Creator:
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Hyman, Trina Schart
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Title:
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Trina Schart Hyman Papers
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Dates:
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1965-1981 (inclusive)
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Quantity:
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4.75 linear feet
6 containers
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Languages:
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Collection materials are in
English.
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Summary:
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Trina Schart Hyman is an artist and
illustrator of children's books. The collecion includes original illustrations,
literary manuscripts, greeting cards, and miscellaneous materials.
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Biographical Note
Trina Schart Hyman, a leading illustrator of books for children, was
born in 1939 in Philadelphia, Pennsylvania. She received her training at the
Philadelphia Museum College of Art (1956-1959) and the Boston Museum School of
the Arts. (1959-1960). She also studied in Stockholm at the Swedish State Art
School (Konstfackskolan, 1960-1961). In Sweden she illustrated her first book,
Toffe och den lilla Bilen (1961. Not in
this collection). Since then she has illustrated numerous children's books for
such authors as Carol Ryrie Brink, Paul Tripp, Eleanor Clymer, and Jean Fritz.
Ms. Hyman is both author and illustrator for two books,
How Six Found Christmas and
Self-portrait: Trina Schart Hyman
(Addison-Wesley). She has also retold
Sleeping Beauty and
Little Red Riding Hood.
From September, 1973 to March, 1979, Ms. Hyman was the art director of
Cricket, a children's magazine. Since
April, 1979 she has served as a staff artist. In 1973, Ms. Hyman won the Boston
Globe-Horn Book Award for her illustrations in
King Stork (not in this collection) and in
1984 her
Little Red Riding Hood was a Caldecott
Honor book. Ms. Hyman lives in a farmhouse in Lyme, New Hampshire; she has one
daughter, Katrin.
Content Description
The Trina Schart Hyman Papers comprise illustrations, and some
texts, for 35 children's books published from 1965 to 1981. The collection also
includes 14 greeting cards and 25 fable cards designed by Ms. Hyman, as well as
miscellaneous artwork.
The illustrations and texts are grouped by book and arranged
alphabetically by book title. For each title, illustrations are in order as
they appear in the book and are identified by page, or chapter number and first
words of corresponding text. Where the text is unavailable, the illustrations
are briefly described. In only a few cases are there materials representing the
entire publishing process, from initial dummy sketches to finished book. In
most cases the collection does not include the complete set of finished
drawings; some books are represented only by one or two drawings. In cases
where there are more materials than simply the finished illustrations, the
arrangement shows the progression of the book from start to finish. The order
used is: 1) notes from publisher; advertising materials, 2) jacket sketch
(draft of dust cover), 3) dummy (illustrator's sketches or copies of final
illustrations in book format), 4) reproduction proofs or proof sheets of
finished illustrations and/or text, 5) dust jacket, 6) finished book, 7)
illustrations for book, including jacket, title page and frontispiece
illustrations. Ms. Hyman does not make preliminary sketches, but does most of
her work on the finished drawing. The illustrations are drawn in pencil and pen
and ink, or acrylics and watercolor on the few color illustrations. The
drawings are on light board and heavy paper (with "a certain lack of
flexibility" distinguishing the two) and on acetate. Notes by Ms. Hyman
regarding her work can be found on some of the drawings for
The Ghost Next Door (p. 124),
The Man Who Loved Books (jacket sketch),
The Watchers (map), and
Will You Sign Here, John Hancock? (dummy),
and on the miscellaneous piece of writing in Box 6, Folder 2. Even the casual
observer will note a distinct change in drawing style over time, as Ms. Hyman
moves away from stylized illustrations and develops a warmer and more realistic
style.
Following the illustrations are the greeting cards and fable cards
(both finished products), and the miscellaneous artwork.
Administrative Information
Acquisition Information Gift of Trina Schart Hyman in 1980.
Processing Note Collection processed by Molly Taylor, Manuscripts Processor.
Use of the Collection
Restrictions on Access Collection is open to the public.
Collection must be used in Special Collections & University
Archives Reading Room.
Restrictions on Use Property rights reside with Special Collections & University
Archives, University of Oregon Libraries. Copyright resides with the creators
of the documents or their heirs. All requests for permission to publish or
quote from manuscripts must be submitted to the Manuscripts Librarian in
Special Collections & University Archives. The reader must also obtain
permission of the copyright holder.
Preferred Citation [Identification of item], Trina Schart Hyman Papers, Coll. 065, Special
Collections & University Archives, University of Oregon Libraries, Eugene,
Oregon.
Related Information
Additional Reference Guides Paper finding aid with additional information available in Special Collections & University Archives.
Subjects
This collection is indexed under the following headings in the online
catalog. Researchers desiring materials about related topics, persons, or
places should search the catalog using these headings.
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| Hyman, Trina Schart |
| Illustrated children's books--United States |
| Illustration of books--United States--20th century |
| Women authors, American--20th century |
| Women illustrators--United States |
| Women illustrators--United States |
| Book illustrations |
Detailed Description of the Collection
The following section contains a detailed listing of the materials in
the collection.
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The Bad Times of Irma Baumlein
(later released as
Irma's Big Lie), by Carol Ryrie
Brink. New York: Macmillan, 1972
Publisher's note re: artwork.
Copy of cover illustration and text pasted onto board with one
overlay and one paper cover.
Illustrations: probably complete; no finished book available for
comparison.
Pen and ink on heavy paper.
Cover illustration. Two overlays and two title lettering inserts.
Semi-opaque paper cover.
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The Cabin on the Fjord, by Susan
Meyers. New York: Doubleday, 1969
Illustrations: pen and ink with wash on heavy paper.
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Cinnamon Seed, by John Travers
Moore. Boston: Houghton Mifflin, 1961
Dummy: pp. 1-6 with taped-on text; one sheet of page numbers.
Second dummy: pp. 1-6 with taped on text; one sheet of page
numbers.
Reproduction proofs: text only, 6 sheets. Separate reproduction
proofs for each poem: pp. 1-47.
Complete unbound finished book.
Illustrations: pp. 8, 26, 27 missing. Pen and ink on light board,
with taped-on text. Overlay drawings in ink.
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Clever Cooks, collected by Ellin
Greene. New York: Lothrop, Lee and Shepherd, 1973
Jacket sketch: pen and ink, and watercolor on heavy paper.
Dust jacket.
Illustrations: pen and ink on heavy paper.
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The Coming of Pout, by Peter Blair.
Boston: Little, Brown, 1969
Note from publisher to artist.
Jacket sketch: pen and ink, and watercolor on semi-opaque paper.
Sketch is taped to cardboard, with an acetate cover and board frame.
Copy of cover illustration and text pasted onto board, with two
semi-opaque paper covers.
Illustrations: pen and ink on light board and heavy paper
(indicated). Most sheets have two drawings.
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Figgie Hobbin, by Charles Causley.
New York: Walker, 1973
Copy of an advertisement in Horn Book, October 1973.
Proof sheet: complete.
Illustrations: several illustrations are missing. Pen and ink on
light board, with pasted on text. Overlay drawings in pencil.
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The Five Trials of the Pansy Bed, by
Jacob B. Townsend. Boston: Houghton Mifflin, 1967
Illustrations: on light board.
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George, by Agnes Sligh Turnbull.
Boston: Houghton Mifflin, 1965
Dummy: copies of text and illustrations pasted-up. Text for p. 91
missing. 94 pp.
Illustrations: pp. 3, 7, 30, 36, 52, 58, 61, 80, 86 missing. Pen
and ink on board.
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The Ghost Next Door, by Wylly Folk
St. John. Harper Row, 1971
Illustrations: pen drawings on semi-opaque paper. Drawings are
taped to paper, with semi-opaque paper covers.
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Greedy Mariani and other Folk Tales of the
Antilles, retold by Dorothy Sharp Carter. New York: Atheneum,
1974
Illustrations: collection contains a few of the illustrations for
the book. These are pen and ink on light board; all are matted.
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How I Went Shopping and What I Got,
by Eleanor Clymer. New York: Holt Reinhart and Winston, 1972
Jacket sketch: pencil and watercolor on heavy paper.
Dummy: complete. Taped-on copies of illustrations and text. 39
pp.
Illustrations: pp. vi and 22 missing. Pencil on light board.
Overlay drawings in pencil. Each illustration has a tracing paper cover.
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How Six Found Christmas, by Trina
Schart Hyman. Boston: Little, Brown, 1969
Illustrations: pen and ink on light board.
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Joanna Runs Away, by Phyllis La
Farge. New York: Holt Reinhart, 1973
Jacket sketch: ink and watercolor on heavy paper.
Dummy: pencil sketches with taped-on text. 63 pp.
Dust jacket.
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Let's Steal the Moon: Jewish Tales Ancient
and Recent, retold by Blanch L. Serwer. Boston: Little, Brown,
1970
Dummy: pencil sketches with taped-on text. Frontispiece sketch
missing. 92 pages.
Photographic negatives of chapter headings, and illustrations for
pp. 2, 6, 24, and 50.
Illustrations: with dummy as only reference, pp. 42, 63, and 80
are missing. No frontispiece sketch. Pen and ink with wash on heavy paper.
Overlay drawings are in ink.
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Listen, Children, Listen, edited by
Myra Cohn Livingston. Harcourt Brace Jovanovitch, 1972
Jacket sketch: pen and ink, and watercolor on heavy paper.
Illustrations: pen and ink on heavy paper. Overlay drawings in
ink.
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The Little Red Flower, by Paul
Tripp. New York: Doubleday, 1968
Note from publisher to artist.
Dummy: pen and ink sketches with watercolor wash and paste-on text
(pp. 8 and 9 are copies). 22 sheets (pp. 5-47).
Illustrations: with dummy as only reference, pp. 6, 7, 8, 9, 16,
17, 26, 27, 32, 33 are missing. Pen and ink on light board and heavy paper
(indicated), with paste-on text. Overlay drawings in ink.
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Magic Heart, by Jan Wahl. New York:
Seabury Press, 1973
Note from publisher to artist.
Dummy: complete. Pencil sketches with taped-on text. Pp. 1-3, 48
in pen. 48 pp.
Illustrations: with dummy as only reference, pp, 5, 8, 9, 12, 13,
20, 21 are missing. Pen and ink with wash on heavy paper. Taped-on text.
Overlay drawings in pencil.
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The Man Who Loved Books, by Jean
Fritz. New York: J. P. Putnam, 1981
Two notes from publisher to artist.
Jacket sketch: ink and water color on heavy paper. Semi-opaque
paper cover.
Book flaps pasted onto cardboard. Four overlays.
Dust jacket.
Complete unbound finished book.
Illustrations: pp. 40, 41 missing. Pen and ink on light board with
paste-on text. Overlay drawings in ink.
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Meet Guguze, by Spiridon Vanghelin,
trans. by Miriam Morton. Reading, Mass.: Addison Wesley, 1977
Note from translator to artist.
Promotional poster.
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Moonsinger, by Clyde Robert Bulla.
New York: Thomas Y. Crowell, 1969
Three proof sheets with eleven full-color drawings.
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Mystery at St. Martins, by Judith
St. George. Putnam, 1979
Dust jacket.
Cover illustration: pen and ink and paint on light board. Matted,
with a semi-opaque paper cover.
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The Popular Girls Club, by Phyllis
Krasilovsky. Simon and Schuster, 1972
Jacket sketch: pen and watercolor on heavy paper.
Illustrations: probably complete; no finished book available for
comparison. Pen on heavy paper.
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Princess Rosetta and the Popcorn
Man, retold by Ellin Greene. Lothrop, Lee and Shepherd,
1971
Jacket sketch: pen and ink and watercolor on semi-opaque paper,
with semi-opaque paper cover.
Dummy: complete. Pencil sketches with taped-on text. 48 pp.
Illustrations: with dummy as only reference, pp. 2, 3, 5, 7-10, 16, 18, 19, 21,
22, 26, 27, 29, 30, 36, 38-40, 42, 43, 45, 46 are missing. Pen and ink on light
board. cover illustration. Five overlays (ink).
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The Quitting Deal, by Toni Tobias.
Viking, 1975
Illustration: frontispiece, title page, and pp. 6, 7, 16, 17 are
missing.
Pen and ink on heavy paper with semi-opaque paper covers. Overlay
drawings in pencil.
Text is on separate proof sheets with shooting information on
semi-opaque paper covers.
Text missing for pp. 8, 9, 16, 17, 19-21, 30-32.
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Sarah and Katie, by Dori White.
Harper Row, 1972
Illustrations: probably complete; no finished book available for
comparison.
Pencil on light board.
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Sir Mac Hinery, by Tom McGowen.
Chicago: Pallet, 1970
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South Star, by Betsy Gould Hearne.
New York: Atheneum, 1977
Note re: missing illustrations.
Offset reproduction order taped to board.
Reshoot pages: one for each chapter illustration.
Reproduction proofs of complete text, including illustrations. 87
pp.
Illustrations: chapters 2 and 6 missing. Pen and ink and pencil
drawings on parchment, taped to thin cardboard.
Overlays provide borders for section of drawing to be used at
chapter heading.
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Take It or Leave It, by Osmond
Molarsky. Walck, 1971
Jacket sketch: pen and ink, and watercolor on semi-opaque paper.
Illustrations: pen and ink and pencil on acetate. May be complete;
no complete text available for comparison.
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Tight Times, by Barbara Shook Hazen.
New York: Viking, 1979
Note from publisher to artist.
Production materials from Centron Films for the
"Reading Rainbow" television series. These are shooting instructions
on semi-opaque paper. 16 sheets.
Copies of illustrations. Made before Centron Films received original
illustrations. 35 pp.
Illustrations: complete. Pen and ink on acetate with tissue
paper covers. Paste-on text on attached cardboard sheets.
Overlay drawings in pencil. See acquisition folder, letter
from artist for more information on drawings' condition.
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The Walking Stones, by Mollie
Hunter. New York: Harper Row, 1970
Illustrations: only cover illustration is missing. Pen and
ink on light board.
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The Wanderers, by Elizabeth
Coatsworth. Four Winds Press, 1973
Note to artist.
Proofs: 6 pp.; two drawings per page. One proof-two
boys sitting and talking--is of a missing drawing.
Illustrations: at least two drawings missing;
no finished book available for comparison.
Pen and ink on light board.
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The Watchers, by Jane Louise Curry.
Atheneum, 1975
Illustrations: may be complete; no finished book available for comparison.
Pen and ink and pencil on heavy paper.
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Who Says So? by Paula Hendrich. New
York: Lothrop, Lee and Shepherd, 1972
Dust Jacket.
Illustrations: pencil on light board with paste-on text and
semi-opaque paper covers.
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Why Don't You Get a Horse, Sam
Adams? by Jean Fritz. New York: Coward, McCann and Geoghegan,
1974
Illustrations: pencil, pen and ink on light board.
Paste-on text on overlays; one per drawing; overlays transparent. All are
matted.
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Will You Sign Here, John Hancock? by
Jean Fritz, New York: Coward, McCann and Geoghegan, 1976
Dummy: complete.
Pencil sketches with paste-on text.
Notes in margins. 48 pp.
Dust jacket, matted.
Bound, finished book.
Illustrations: p. 12, 13 missing. Pencil, pen and ink on heavy paper
with paste-on text. All are matted. Overlay drawings in pencil follow each
matted illustration.
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Witch Poems, edited by Daisy
Wallace. New York: Holiday House, 1976
Proof sheet: incomplete.
Copies of title page and art, some with paste-ups;
copies of pp. 3, 5, 12, 17, 18, 19.
Illustrations: brush, and pen and ink, on textured heavy paper.
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The Writing on the Hearth, by
Cynthia Harnett. Viking, 1973
Two pieces of writing: ink on acetate, taped to light board, with semi-opaque
paper covers-with shooting instructions.
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Greeting cards: fourteen cards
published by Pawprints, Inc
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Fable cards: twenty-five cards
published by Open Court Publishing Co
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