1960s Caldecott Winners
1960
Ets, Marie Hall and Aurora Labastida. Nine Days to Christmas illus. Marie Hall Ets. New York: Viking Press, 1959.
Pencil drawings on Dinobase bring this unique Christmas story to life. The preparation of a young Mexican-American girl for her first posada (a special Christmas part each night for the 9 nights before Christmas) is a whirlwind of adventures. She gets her first pinata, goes to market for the first time and gets to help with the party preparations. The detailed pictures do a wonderful job of not filtering out everything she sees to keep the story going.
1961
Robbins, Ruth. Baboushka and the Three Kings illus. Nicolas Sidjakov. Berkeley, CA: Parnassus Press, 1960.
This adaptation of a Russian Christmas story is illustrated with tempera and felt tip markers in four colors. The "baboushka," or grandmother, is a sort of Santa Claus figure who leaves small "poor but precious" gifts for children as she searches for the Child. The words in the book are typeset in a medieval font that places the time period of the story. The tale includes many religious overtones of various sorts, without actually making it a religious book.
1962
Brown, Marcia. Once A Mouse… New York: Charles Scribner’s Sons, 1961.
A fable from ancient India is told in wood cut and watercolors. The story is of a small mouse turned into a tiger through a hermit’s magic. When the tiger gets too arrogant, the hermit turns him back into a mouse. The pictures are beautiful because you can see the grain of the wood behind the colors. The pictures also seem to come before the active words they represent.
1963
Keats, Ezra Jack. The Snowy Day New York: Puffin Books, 1962.
The third winner about snow, this book contains a simple story of a child’s adventures in the snow. The boy plays by himself all day in the snow that covers everything. The pictures are steady, recognizable shapes that can be found everywhere, just like the snow. They are created as collage with papers, paints, and gum eraser stamps. The pictures fill in descriptions of things left unsaid, like why Peter is still too small for a snowball fight. The historical significance of this book is that it is the first picture book to depict and African-American child without any reference to his race—he is just a child.
1964
Sendak, Maurice. Where the Wild Things Are New York: Harper Collins Publisher, 1963.
This classic children’s book about Max and his trip to the land of the wild things tells a story of a boy being punished, and the pictures tell why. The India ink line over full-color tempera pictures are fabulously imaginative and give children a power over adults by allowing them to be part of the story. The full two-page spreads in the middle of the book allow Max to be in charge while the "grownup" monsters romp in the jungle.
1965
de Regniers, Beatrice Schenk. May I Bring a Friend? Illus. Beni Montresor. New York: Atheneum, 1964.
The pictures in this book, done as pen and ink drawings on board in black with solid overlays and screened overlays on acetate, tell a very different story from the words. The words say "a friend" and picture says "an elephant." The pictures of the king and queen also tell a unique story because each picture shows them doing normal, fun things, like fishing or dancing. This is an excellent picture book, and my favorite of the Caldecott winners.
1966
NicLeodhas, Sorche [Leclaive Algen]. Always Room for One More illus. Nonny Hogrogian. New York: Holt, Rinehart and Winston, 1965.
Hogrogian illustrated this book with three-color separated art using pen for black line pastels and wash for color. The people and house, etc. are created by lines which form the shape rather than lines within the shape. The story is a Scottish folk song. At the end fo the book is a list of definitions of the Scottish words used in the song, as well as the musical notation. The line-people reinforce the hospitality of all friends being welcome.
1967
Ness, Evaline. Sam, Bangs, and Moonshine New York: Holt, Rinehart and Winston, 1966.
This is a great story about learning the difference between "real" and "imaginary." It’s great that the imaginary kangaroo and the real gerbil are both called "Moonshine." Sometimes the imaginary can become real. The pictures are made with three-color pre-separated art using Japanese pen and wash, printer’s ink, a roller and string.
1968
Emberly, Barbara. Drummer Hoff illus. Ed Emberly. Englewood Cliffs, NJ: Prentice Hall, Inc., 1967.
This is an interesting story about firing a canon and military ranking. Each character introduced is one rank higher than the last. The pictures are bright and colorful woodcuts and ink, containing many designs. The pictures also comment on war in the final picture when the anon has become the center of a wildlife area with birds nesting and spiders spinning on it. War didn’t destroy things forever.
1969
Ransome, Arthur. The Fool of the World and the Flying Ship illus. Uri Shulevitz. New York: Farrar, Straus and Giroux, 1968.
Simple kindness can go a long way according to this Russian tale. The older, clever brothers are never heard from again once they set out to seek their fortunes, but the Fool of the World shares the little he has and enjoys life, allowing miracles to happen. The pen and brush with black and colored inks pictures are rich in color, allowing the reader to also feel carefree as the Fool, knowing that God blesses the simple folk if they choose to be simple rather than clever.
Ets, Marie Hall and Aurora Labastida. Nine Days to Christmas illus. Marie Hall Ets. New York: Viking Press, 1959.
Pencil drawings on Dinobase bring this unique Christmas story to life. The preparation of a young Mexican-American girl for her first posada (a special Christmas part each night for the 9 nights before Christmas) is a whirlwind of adventures. She gets her first pinata, goes to market for the first time and gets to help with the party preparations. The detailed pictures do a wonderful job of not filtering out everything she sees to keep the story going.
1961
Robbins, Ruth. Baboushka and the Three Kings illus. Nicolas Sidjakov. Berkeley, CA: Parnassus Press, 1960.
This adaptation of a Russian Christmas story is illustrated with tempera and felt tip markers in four colors. The "baboushka," or grandmother, is a sort of Santa Claus figure who leaves small "poor but precious" gifts for children as she searches for the Child. The words in the book are typeset in a medieval font that places the time period of the story. The tale includes many religious overtones of various sorts, without actually making it a religious book.
1962
Brown, Marcia. Once A Mouse… New York: Charles Scribner’s Sons, 1961.
A fable from ancient India is told in wood cut and watercolors. The story is of a small mouse turned into a tiger through a hermit’s magic. When the tiger gets too arrogant, the hermit turns him back into a mouse. The pictures are beautiful because you can see the grain of the wood behind the colors. The pictures also seem to come before the active words they represent.
1963
Keats, Ezra Jack. The Snowy Day New York: Puffin Books, 1962.
The third winner about snow, this book contains a simple story of a child’s adventures in the snow. The boy plays by himself all day in the snow that covers everything. The pictures are steady, recognizable shapes that can be found everywhere, just like the snow. They are created as collage with papers, paints, and gum eraser stamps. The pictures fill in descriptions of things left unsaid, like why Peter is still too small for a snowball fight. The historical significance of this book is that it is the first picture book to depict and African-American child without any reference to his race—he is just a child.
1964
Sendak, Maurice. Where the Wild Things Are New York: Harper Collins Publisher, 1963.
This classic children’s book about Max and his trip to the land of the wild things tells a story of a boy being punished, and the pictures tell why. The India ink line over full-color tempera pictures are fabulously imaginative and give children a power over adults by allowing them to be part of the story. The full two-page spreads in the middle of the book allow Max to be in charge while the "grownup" monsters romp in the jungle.
1965
de Regniers, Beatrice Schenk. May I Bring a Friend? Illus. Beni Montresor. New York: Atheneum, 1964.
The pictures in this book, done as pen and ink drawings on board in black with solid overlays and screened overlays on acetate, tell a very different story from the words. The words say "a friend" and picture says "an elephant." The pictures of the king and queen also tell a unique story because each picture shows them doing normal, fun things, like fishing or dancing. This is an excellent picture book, and my favorite of the Caldecott winners.
1966
NicLeodhas, Sorche [Leclaive Algen]. Always Room for One More illus. Nonny Hogrogian. New York: Holt, Rinehart and Winston, 1965.
Hogrogian illustrated this book with three-color separated art using pen for black line pastels and wash for color. The people and house, etc. are created by lines which form the shape rather than lines within the shape. The story is a Scottish folk song. At the end fo the book is a list of definitions of the Scottish words used in the song, as well as the musical notation. The line-people reinforce the hospitality of all friends being welcome.
1967
Ness, Evaline. Sam, Bangs, and Moonshine New York: Holt, Rinehart and Winston, 1966.
This is a great story about learning the difference between "real" and "imaginary." It’s great that the imaginary kangaroo and the real gerbil are both called "Moonshine." Sometimes the imaginary can become real. The pictures are made with three-color pre-separated art using Japanese pen and wash, printer’s ink, a roller and string.
1968
Emberly, Barbara. Drummer Hoff illus. Ed Emberly. Englewood Cliffs, NJ: Prentice Hall, Inc., 1967.
This is an interesting story about firing a canon and military ranking. Each character introduced is one rank higher than the last. The pictures are bright and colorful woodcuts and ink, containing many designs. The pictures also comment on war in the final picture when the anon has become the center of a wildlife area with birds nesting and spiders spinning on it. War didn’t destroy things forever.
1969
Ransome, Arthur. The Fool of the World and the Flying Ship illus. Uri Shulevitz. New York: Farrar, Straus and Giroux, 1968.
Simple kindness can go a long way according to this Russian tale. The older, clever brothers are never heard from again once they set out to seek their fortunes, but the Fool of the World shares the little he has and enjoys life, allowing miracles to happen. The pen and brush with black and colored inks pictures are rich in color, allowing the reader to also feel carefree as the Fool, knowing that God blesses the simple folk if they choose to be simple rather than clever.
Proudly powered by Weebly