This is the 2nd page of my grandmothers book, most likely made for her by her father, Sidney Arthur Kimber. Sidney worked in the printing industry in Cambridge and wrote a book about printmaking practices in Boston in the 17th century.
The neat even writing is amazing in and of itself. The attention to font is noteworthy also.
Here is the text:
Ruth Lockhart Kimber
Born, Easter Sunday, the 12th of April, 1903, at nine o’clock in the morning, at 93 Ashmont Street, Dorchester, Boston, Massachusetts. Weighed nine pounds and a quarter. Blue eyes, black hair.
Doctor — Robert B. Scales
Nurse —- Mrs. Garnage
Her first outing — April, 29th
Her first call — on Mrs Fraser with nurse
My camera isn’t quite up to the task here. The ink is gold with a bit of a sheen to it, and the hand is sure.
from my grandmother’s book, made by Sidney Arthur Kimber, her grandfather
This morning I made rings of forsythia for the doors. It wasn’t that long ago that the evergreen wreaths with the purple bows came down. Debris strewn pockmarked snow still covers much of the yard, but the vibrant forsythia blooms I forced indoors add their bit of promise and hope.
While rummaging and cleaning I found myself in the basement noticing a few old paintings, not mine. They are from my grandmother, and one, at least, is much worse for wear. Mr. Sidney Arthur Kimber has a puncture wound. Thankfully it’s not in his face which is beautifully done, in the Boston School style I believe, which makes sense given the time period. I’ll post a picture later.
Then I found some very old photographs, and wondered who they all were. I realize that I have to get my father down here to tell me what he remembers. It wasn’t long before I found a journal, an indiscriminate gray cover, yellow pages. But what is it? Inside, here is the title page:
Ruth Lockhart Kimber Hardy, b. 1903, d. 1989
There are pages and pages of hand colored illustrations. I’ll post more soon.
I went to Pam Lawson‘s for a printmaking class today. It is an informal monotype class, a small group with lots of individual instruction. I’m free to work on my ideas with the help of someone who knows what she’s doing and the added benefit of a press and lots of rollers. With a big roller, you can ink up a plate with a pattern on it and transfer the pattern on top of a 2nd image, which is what I did below. After the first one I used the ghost impression left on the plate as a guideline to make a new, more abstract version. Mostly I wanted to get the hang of using the big roller. In the first one the roller a jumped a bit, you can see it if you look at the bottom edge. I’m going to try next time with a darker ink in the background, probably an indigo or a deep violet, and a lighter figure, to see if I can get more contrast. The model is Peg Mulqueen, in Laguvajrasana.
The spoon and napkin here is from daily drawing practice. Daily drawing is more of a goal than a reality, but I keep coming back to it.