ABOUT VALERIE WALDORF AND HER ART. Born September 1, 1954 Valerie Jean Grote spent her early childhood years on her grandparents' farm near Fairfield, Ohio and her teens on a farm her father bought near Greenville. She graduated from Greenville High School in 1972 and married D.C. Waldorf in April of 1974. Together they founded Mound Builder Arts & Trading Co. and Mound Builder Books. With no formal training in art outside of the few classes in grade school Val developed her talents on her own through constant practice and personal inquiry. Before doing technical illustrations of archeological material she specialized in portraits and wildlife in watercolor and acrylic. She also did stone carving and scrimshaw which sharpened her eye and hand for minute details; this would help her in the pen and ink line drawings of chipped stone artifacts for which she became famous. Because Val had learned flintknapping from her husband in her work illustrating stone tools accurate portrayal of flake scars was everything! In over 25 years, until her untimely death in 2005, she did hundreds of illustrations for books, catalogs, Indian relic magazines, archeological reports, and was the staff artist for CHIPS magazine. In that all too short a time it can be said that Val left us a body of work and a legacy that set the standard for all who would follow her.

ABOUT THE DRAWINGS The original line drawings presented for sale here are the few that are left from the 727 that were done between 1983 and 1987 for the book Story in Stone: Flint Types of the Central and Southern U.S., some of which were also used on the wall poster and other publications. These are also noted in the description. To help defray some of the printing costs after the book came out Val remounted and sold off the largest and most desirable pieces, among them classic Paleo and Archaic points. After that a few more were let go until what is left here are the smaller, later period points, and many of the tools such as scrapers, flake knives, and drills. Though of the more mundane types, all are still one of-a-kind masterpieces done by the best there ever was in the business, and when they are gone, they are gone! 

CARE AND REMOUNTING THE DRAWINGS The drawings have been stored in a dark, dry steel cabinet, though the paper may have yellowed a bit, all are in almost new condition. Some are still on a portion of the original page with figure numbers pasted under them. Before high-res digital scanning and other modern developments in printing sometimes it was necessary to paste the original artwork on the page when it was photographed in preparation of the “plates” for “offset printing.” We did our own “camera ready” pages and the glue used was hot wax, some of which is still stuck to the back of the drawings that have been removed from the pages. To remount the drawings, keeping your hands clean as possible, I suggest you carefully scrape off as much of the old wax as you can, then trim off any extra paper just a bit beyond the outer lines, and re-glue using a light touch of Elmer’s white glue or Elmer’s Craft Bond Spray Adhesive. Several pieces can be arranged on a sheet of heavy acid free paper, then matted and framed. If you don’t wish to attempt this tricky operation yourself it might pay to have it done by a professional frame gallery. 

This product was added to our catalog on Thursday 31 October, 2013.

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