The 1970s: Establishing the Field
In the United States, at the start of the 1970s, most decorated papers were imported, and American artists were relatively unknown. By mid-decade, the field had grown. Causes for this include a surge of training opportunities, an increase in locally made equipment and supplies, and more venues interested in selling papers and items made with them. By the end of the decade, American decorated paper evolved into a known resource for designers, artists, publishers, and bookmaking professionals.
These materials illustrate the techniques and aesthetic approaches to decorating paper practiced by the 1970s generation.
David W. Teske (1940-2016) and
John Coventry (b. 1943)
Celestial map of 5,766 stars, visible to the naked eye, ca. 1974–ca. 1976. Computer generated drawing and oil marbled.
Astronomer David W. Teske created eight different star maps and knew the names of 8,602 stars. Teske met marbler John Coventry at the California Pleasure Faire in the 1970s. They soon embarked on a collaboration to oil-marble Teske’s maps, as in this example.
Thomas J. Watson Library, The Metropolitan Museum of Art, New York, Gift of John Coventry
Christopher Weimann (1946–88)
Indian Weave, 1978. Marbled paper, acrylic paint on Hahnemühle Ingres paper.
Christopher Weimann, active 1972–88, sold his traditionally inspired marbled papers at Dawson’s Book Shop in Los Angeles, California, which also published his books Marbled Papers (1978) and Marbling in Miniature (1980). In the 1980s, Weimann’s work on the reproduction of historical Indian marbling gained worldwide recognition amongst scholars and inspired the marblers of his generation. The Christopher and Ingrid Weimann collection of marbled papers is at Harvard Library.
Thomas J. Watson Library, The Metropolitan Museum of Art, New York, Gift of Ingrid Weimann
Kathy (b. 1954) and Richard Longstreet (b. 1951)
Edge House Marbled Papers brochure, undated.
In 1981, Richard and Kathy Longstreet, and Richard’s sister, Holly, established Edge House Marbled Papers in Los Angeles, California. Edge House sold blank books, note cards, and papers to museum gift shops throughout the United States and made custom editions of paper upon request. This rare brochure is addressed to marbler Peggy Skycraft.
Thomas J. Watson Library, The Metroplitan Museum of Art, New York, Gift of Peggy Skycraft and Jack Townes
Christopher Weimann (1946–88)
Indian Pipe, 1988. Marbled paper, acrylic paint on commercial paper.
Making simple floral motifs is an aspect of traditional marbling that Christopher Weimann, active 1972–88, practiced to great effect, as illustrated by this stylized rendition of an Indian Pipe flower.
Thomas J. Watson Library, The Metropolitan Museum of Art, New York, Gift of Ingrid Weimann
Richard Longstreet (b. 1951),
Kathy Longstreet (b. 1954), and
Holly Longstreet Lipus (b. 1961)
Marbled paper, undated. Lacquer paint on Rising cotton rag paper.
The marbling technique used in this paper by Richard (active 1970–90) and Kathy Longstreet (active 1970–93), alongside Holly Longstreet Lipus (active 1981–93), involved pouring layers of translucent lacquer paint onto the surface of the marbling bath in a crosshatched pattern. This method achieved an unusual effect unique to the Edge House brand.
Thomas J. Watson Library, The Metropolitan Museum of Art, New York, Gift of William Drendel
John Coventry (b. 1943)
Marbled collage, early 1970s. Oil-marbled, spray-painted motifs and collage astronaut figure on upcycled paper.
John Coventry, born Donato Coviello, created freeform marbled paper using oil-based commercial paints on a moving bath of water and wallpaper sizing. Some of these, as with this piece, he embellished with collage and other media. Coventry later contributed to the field as an organizer of the First International Marblers’ Gathering, held in Santa Fe, New Mexico, in 1989.
Thomas J. Watson Library, The Metropolitan Museum of Art, New York, Gift of John Coventry
Iris Nevins (b. 1952)
Rainbow Spanish, 2014. Underpainted marbled paper; proprietary watercolor paint, Hahnemühle Nature Text paper.
Iris Nevins, active 1978–present, who specializes in traditional European patterns, is one of the most influential marblers of her generation. Between 1995 and 2008, she marbled up to ten thousand sheets per year for sale to art stores, fine presses, bookbinders, and designers. Nevins has published instructional articles and covered the field for Ink & Gall and The Guild of Book Workers Journal and has authored numerous books on paper and fabric marbling.
Thomas J. Watson Library, The Metropolitan Museum of Art, New York, Gift of Iris Nevins
Ashley Miller (b. 1942)
Marbled paper, Gel-git pattern, 1993. Liquitex acrylic paint, Mohawk paper.
Ashley Miller, active 1978–95, specialized in marbling paper in traditional European patterns. She also marbled silk and made numerous products. Miller was introduced to marbling while working at the Steinhour Press in Vermont and became professional after learning marbling from Terry Harlow. From 1988 to 1995, she sold papers exclusively to New York Central Art Supply, while also fulfilling limited commissions for publishers.
Thomas J. Watson Library, The Metropolitan Museum of Art, New York, Purchase, Friends of the Thomas J. Watson Library Gift
Katherine Radcliffe (b. 1942)
Decorated paper and packaging for Dark Vanilla cologne, Coty, Inc., ca. 1998. Sponged and painted paper, acrylic paint on commercial paper.
New York artist Katherine Radcliffe, active 1972–ca. 2011, developed a niche by reproducing patterns from nature in subtle colors, suitable for commercial print work. Her papers were sold at New York art stores and frequently licensed for reproduction. Radcliffe initially marbled with oil colors but shifted to acrylics in the 2000s. She and fellow marbler Eileen Canning were responsible for drafting professional standards for marblers, first published in the Graphic Artists Guild Handbook in 1991.
Thomas J. Watson Library, The Metropolitan Museum of Art, New York, Gift of Katherine Radcliffe
Katherine Radcliffe (b. 1942)
Artist’s portfolio album, ca. 2011.
Radcliffe’s portfolio illustrates the variety of commercial commissions she received and how her designs were used in print ads, book design stationery items, and packaging. Here, you see Malachite, the green paper which was one of her most popular designs.
Thomas J. Watson Library, The Metropolitan Museum of Art, New York, Gift of Katherine Radcliffe
Annette Hollander (1919-2014)
“Fold-Dye Papers” in Woman’s Day, September 1970.
Annette Hollander was an artist and author who operated a business, Bookcraft, at her home in Hamden, Connecticut. During the 1960s and 1970s Hollander wrote articles for Woman’s Day magazine and published books on decorated paper and book-related crafts. Her son, Tom, eventually established Hollander’s, a paper and bookbinding supply store in Ann Arbor, Michigan.
Private collection
Iris Nevins. Varieties of Spanish Marbling: a handbook of practical instruction with twelve original marbled samples. Sussex, NJ: Bird & Bull Press, 1991.
After years of researching and perfecting her methods, Iris Nevins wrote and made papers for this landmark book. Shown here is Moiré, an elegant variant of Spanish marbling. For this pattern, the paper is first folded in squares, then flattened before laying down on the marbling bath. The folds create a shift in the pattern, which produces a repeating motif.
Thomas J. Watson Library, The Metropolitan Museum of Art, New York, Friends of the Thomas J. Watson Library Gift
Ingrid Weimann and Nedim Sönmez. Christopher Weimann (1946–1988): A Tribute. Tübingen, Germany: Jäckle-Sönmez, 1991.
Christopher Weimann died prematurely. To honor him, his wife Ingrid and marbler Nedim Sönmez produced this moving book, which highlights Weimann’s contributions to marbling art and scholarship. These pages feature the stages of marbling a combed pattern from Weimann’s book Marbled Papers, published by Dawson’s Book Shop in 1978.
Thomas J. Watson Library, The Metropolitan Museum of Art, Purchase, Friends of the Thomas J. Watson Library Gift
Ashley Miller (b. 1942)
Ashley Miller Marbled Silk & Paper brochure, 1987.
Ashley Miller produced numerous items from her marbled paper. This brochure illustrates the scope of her output, including stationery, blank books, address books, take-out containers, scarves, ties, and jewelry, as well as marbled paper sheets.
Thomas J. Watson Library, The Metropolitan Museum of Art, Gift of Ashley Miller
Patty Schleicher (1926-2004)
Marbled paper made for calligraphers, Curl pattern, 1985. Marbling ink on commercial paper.
Patty Schleicher’s paper and textile marbling business was in Weaverville and Asheville, North Carolina. In the 1980s, Patty, active 1978–2003, was joined in business by her daughter Mimi, and both were active members of the Southern Highland Craft Guild. From 1992 to 1995 they operated Inklings Creative Marbling gallery, which exhibited the work of over twenty artists. Both were coordinators of the 2002 International Marblers’ Gathering at the Arrowmont School in Gatlinburg, Tennessee.
Thomas J. Watson Library, The Metropolitan Museum of Art, New York, Gift of Mimi Schleicher
Patty Schleicher (1926–2004)
Patty Schleicher, Designer Craftsman. Turkish and Oil Color Marbling brochure, undated.
This brochure includes six swatches of Schleicher’s papers and advertises her marbled products, including cards, pads, books, and silk scarves. Its text shares insight into Schleicher’s enthusiasm for marbling:
…I have been marbling since 1978 and never fail to be excited by the fantasy patterns which are created by floating colors on water and moving them into patterns. Though my art is old, my color use is contemporary...
Thomas J. Watson Library, The Metropolitan Museum of Art, New York, Gift of Mimi Schleicher
Pamela Smith (b. 1944)
Double-marbled paper with leaf motifs, 2006. Holbein Acryla Gouache on Hahnemühle Ingres Antique paper.
From 1972 to 2001, Pamela Smith was Director of the Press at the Palace of the Governors, in Santa Fe, New Mexico. In this capacity, she designed and printed publications and conducted educational programs throughout the state, including marbling demonstrations. Largely self-taught, Smith is an accomplished production marbler, making small runs of complex patterns for small press publishers.
Thomas J. Watson Library, The Metropolitan Museum of Art, New York, Gift of Pamela Smith
Pamela Smith (b. 1944)
Double-marbled paper with zinnia motifs, 2019. Winsor & Newton Designers Gouache and Holbein Acryla Gouache on Hahnemühle Ingres Antique paper.
Pamela Smith, active 1976–present, is a master of multi-layer marbling. In this technique, she marbles the sheet many times, drying it between each application. While Smith uses traditional techniques and materials in her work, here she adds a twist by using a flower frog as a paint applicator to create the dotted, rounded blossoms.
Thomas J. Watson Library, The Metropolitan Museum of Art, New York, Gift of Pamela Smith
Eileen Canning (b. 1937)
Marbled paper, 1983. Watercolor on machine-made paper.
Eileen Canning, active 1977–93, learned marbling from Don Guyot and later founded Dancing Inks in Olympia, Washington, through which she taught Turkish marbling and marbling design. The extremely fine combing seen in this paper is unique to her papers. Canning’s papers and products were sold nationally at art supply stores, gift shops, and trade shows. Occasionally, she created small editions of a single design for fine press publishers, including Arion Press of San Francisco.
Thomas J. Watson Library, The Metropolitan Museum of Art, New York, Gift of Peggy Skycraft
Colman Rutkin (b. 1944)
Bouquet, 1989. Paste paper; paste with acrylic paint on Arches paper.
Colman Rutkin’s experience as a painter is evident in this paper. For this pattern, Rutkin, active 1978-2015, first painted the paper with a pinkish tone before applying the flower pattern which is painted, stamped and skid stamped. This may be a partial sheet, as Rutkin’s designs were normally made on full sheets of Arches paper, in horizontal format, 25½ × 39½ inches.
Thomas J. Watson Library, The Metropolitan Museum of Art, New York, Purchase, Friends of the Thomas J. Watson Library Gift
Susan Pogány (b. 1947)
Marbled paper, Angel Wing pattern, 1994. Winsor & Newton gouache, Whittaker, Clark & Daniels watercolor on Crescent paper.
Susan Pogány’s interest in marbled paper was sparked by her collection of antiquarian books. After taking a workshop with Peggy Skycraft in Oregon, Pogány moved home to Lawrence, Kansas, where she developed a mastery of marbling technique and developed her own style. Pogány, active 1977–98, sold papers commercially and licensed designs to companies such as JC Penney and Hallmark. She also received commissions from publishers Alfred A. Knopf, Harper Collins, and Random House.
Thomas J. Watson Library, The Metropolitan Museum of Art, New York, Gift of Susan Pogány
Susan Pogány (b. 1947)
Hallmark Mini Gift Wrap Ensemble. Hallmark Cards Inc. Kansas City, MO: ca. 1980.
Susan Pogány received several commissions from Hallmark Cards Inc. for gift wrap. Her Paper Legacy collection at the Watson Library includes many examples of her licensed work for well-known companies, as well as marbled correspondence from other artists.
Thomas J. Watson Library, The Metropolitan Museum of Art, New York, Gift of Susan Pogány
Patty Schleicher (b. 1948)
Seeing Red. Asheville, NC: Patty Schleicher 1987.
Patty Schleicher was interested in architecture and theology, and practiced painting, weaving, bookbinding, and marbling. The binding of Seeing Red, her unique artist’s book, is a hard case binding. Its pages are hand-sewn on suede tapes which are laced through the spine and decoratively knotted. The pages are marbled on both sides. Most have been drawn upon in pencil and ink.
Thomas J. Watson Library, The Metropolitan Museum of Art, New York, Gift of Mimi Schleicher
Sage Reynolds (b. 1948)
Sage’s Papers sample book, undated. Post-bound, linen-covered album.
Sage’s Papers was a line of paste papers produced by Sage Reynolds and Colman Rutkin, of Staten Island, New York, from the late 1970s to the 2010s. This book was used to show clients a variety of patterns, finishes, gilding types, and colors which could be matched to Pantone swatches. The loose blue and gold flecked paper shown is dated 1984.
Thomas J. Watson Library, The Metropolitan Museum of Art, New York, Purchase, Friends of the Thomas J. Watson Library Gift
Sage Reynolds (b. 1948)
Paste Paper Samples. Production and Custom Patterns Produced from ca. 1984 through 2007, ca. 1984–2007. Cloth-covered album.
As with the adjacent book, this album was used as an idea book to share design options with clients. On this spread we see four patterns. The two patterns on the left page were produced as fabric by Karl Mann in 1981.
Thomas J. Watson Library, The Metropolitan Museum of Art, New York, Purchase, Friends of the Thomas J. Watson Library Gift
Artbeats. Quick Reference Card for the picture framing industry, 1993.
This card illustrates how marbled paper can be used in French Mats, a style of picture mat that is created by inking border lines and filling the space between lines with watercolor, gold, and/or marbled paper. French Mats are primarily used in framing of Master drawings, natural history, portrait, sporting, and architectural prints. The designs of Paper Legacy artists Susan Pogány, Diane Maurer, and Mimi Schleicher are included.
Thomas J. Watson Library, The Metropolitan Museum of Art, New York, Gift of Susan Pogány