Ebon et Noir Antiquarian Book Magazine {01}

ISSUE 01

MAGIC IN THE GARDEN CELEBRATING THE RITES OF SPRING

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Ebon et Noir / Issue 01

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INSIDE

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Fairy Magic in the Garden

History of the English Cottage Garden

Ravensrookery Fairy Doors are one of a kind, hand-crafted portals to the fairy realm. Each door is as unique and special as the fairies who reside within. If you leave the door ajar your fairy door will stand on its own. The fairies of Ravensrook are a friendly and playful lot and will imbue your home or woods with magic.

04_ On the Cover 05_ Editor’s Note: Intro to Issue 01 21_ Goodies for your garden

08_ A Selection of Fairy Books

10_ The Etiquette of Tea and Afternoon Receptions

12_ Harold Gaze, One of the Great Book Illustrators

11_ Recipe: Earl Gray Madeleines

Š Copyright 2016

By Ebon et Noir. All pieces reproduced in this issue are under prior copyright of the creators

18_ Help Bats in Your Garden

and publisher by the contractual arrangements.

Nothing shown may be reproduced in any form without obtaining the permission of the publisher and any other person or company who may have copyright ownership.

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20_ Art: Diana Matisz: Wired Photographs

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Hans Zatzka, also known as P. Ronsard, was a painter of allegorical subjects, genre scenes, and figures.

ON THE COVER

Zatzka dedicated most of his artistic life to decorating the numerous churches in Vienna and those in Mayerling, Olmutz and Innsbruck.

His religious paintings and altar piece paintings were highly regarded but he was more widely known for his passionate paintings depicting women, fairies and mythological subjects. Aware of the huge popularity of his paintings of women Zatzka produced many of them and even had some of them reproduced as postcards. Today, Hans Zatzka paintings are sought-after by collectors as are his postcards.

It is unknown exactly when Hans Zatzka died but it is thought to have been either in 1945 or 1949.

ď‚Ž

VIEW MORE OF HIS WORK

Love Offering

by Hans Zatzka (1859-1945)

Right Girl Flirting with Love

by Hans Zatzka (1859-1945)

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Books are the Family Business A few years back I teamed up with my entrepreneurial brother, Lawrence, owner of Best and Fastest Books and became the antiquarian arm of the business. I am an artist and writer and have always loved books–especially old ones. My brother didn’t have the time to catalog and properly research the 19th Century stash of books, so I began to list them. Since then, I’ve discovered that I have a real passion for the antiquarian business–it truly does speak to my soul. I created Ebon et Noir for book lovers of all ages and generations that appreciate the literary artistry of bygone eras. Each book is a treasure from my family to yours.

Ebon et Noir Issue 01.

For many years I’ve wanted to create a magazine that speaks to my passions: literature, art, design, travel, and the unusual. And I thought, what better way to thematically represent these interests than with a publication that features wisdom from long-forgotten books?

Since moving to the country, I’ve fallen in love with gardening and the woodlands that surround my house. It’s the kind of place that allows me to dream; that conjures wonder and the sense that magic is all around us.

Issue 01 is a celebration of woodland magic, springtime bliss, and garden whimsy.

Narcisse Navarre Founder

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Ebon et Noir / Issue 01

EDITOR’S NOTE

Ebon et Noir / Issue 01

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FEATURE_

FAIRY MAGIC IN THE GARDEN

by Narcisse Navarre

“

Faeries, come take me out of this dull world, For I would ride with you upon the wind, Run on the top of the disheveled tide, And dance upon the mountains like a flame.

– William Butler Yeats, The Land of Heart’s Desire, 1894

B

ack in 2013 my husband and I bought a unique home in the legendary Catskills region of New York. Our new residence was so unique that I was inspired to name it Castle Ravensrook after one of the castles in my fantasy novels. It has turrets, spiral stairways, trap doors, a yeoman’s hut, a folly and much more. Castle Ravensrook is a dream come true; a fairytale location that was destined to change my life.

The woods surrounding our castle are idyllic. There’s a meadow, a fragrant cedar forest, ancient hardwood trees that tower majestically above mossy slate outcroppings, old stone walls, valleys and ridges, and a cascading brook.

I’m getting to know my neck of the woods gradually, exploring a little more each day. It’s been fun to discover its unique charms–the mossy rock that reminds me of a great big hill, the twin maples, the Ents I’ve named Lowfrond and Burlfrond, the fairy circle of gray birches, the old garbage dump with its half-buried vintage perfume bottles and the big old stump by the waterfalls. In short, every time I walk around my new property, I become more aware of the magic in my woods. It’s a place that stokes my imagination. A day doesn’t go by that I don’t picture some magical creature scurrying

Wonderflare Fairy Door, Home of Binzie Boomdangle Wonderflare is the home of Binzie Boomdangle, an adventurous fairy lad with endless curiosity. He loves exploring nooks, crannies, hollows and caves. With black and orange wings Binzie is often mistaken for a Monarch butterfly, but careful eyes know better! $50

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in the underbrush. Hell with the vineyard next door, I half expect to run into a satyr skulking around in my woods!

During the last few years, I have really enjoyed raking leaves, cleaning up the dead-fall, dredging debris from the garden ponds, hiking, and spending time outdoors. Instead of loathing the new chores (as many city folk would), I am embracing the change. While clearing a trail from the top of the hill down to the stream, I began thinking about fairies. It occurred to me that the fairy residents of Ravensrook should have respectable homes. That’s when the idea struck me to create my own.

7 Wonderflare is the home of Lorelyrie is the home of Kalliope Tunespider a special fairy who loves all things musical. Kalliope’s lyrical poems and beautiful voice will inspire your home or garden.

SOLD

Photos ©Narcisse Navarre

Wildclaw Fairy Door, Home of Leonoss the Wise Wildclaw is home to Leonoss the Wise who is only too happy to resolve disputes and bring harmony to the capricious fairy folk.

SOLD

I connived my friend Marzio Ombra into a crafting session and before we knew it the hours flew by as we cut, sanded, stained and imagined the denizens that inhabited our tiny portals. One door turned to three, four, five, and before we knew it—twelve! It seems we’ve stumbled on a good thing.

We discovered that we really enjoy the process of working with our hands. Plus ‘homes for fairies’ just tickles our fancy.

There is joy and satisfaction in creating something whimsical that sparks the imagination.

Ebon et Noir / Issue 01

Below Lorelyrie Fairy Door, Home of Kalliope Tunespider

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$200

THE RUSSIAN STORY BOOK Retold by Richard Wilson Illustrated by Renown Book Illustrator Frank Cheyne Papé Frank Cheyne Papé, who generally signed himself Frank C. Papé was an English artist and book illustrator. He studied at The Slade School of Fine Art, completing his studies circa 1902-04. He was a prolific illustrator who worked in many styles. His early work is highly sought after.

The Russian Story Book contains some of Papé’s most stunning illustrations. Marina and the Dragon and Falcon the Hunter are true classics.

The tales and stories told in this book will enchant and delight young and old alike.

Simply wonderful.

FIRST EDITION, RARE BOOK PUBLISHED BY MACMILLAN AND CO. LTD., LONDON, 1916

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Left Marina and the Dragon

by Frank Cheyne Papé

A SELECTION OF FAIRY BOOKS 9

$80

That’s Why Stories

by Ruth O. Dyer, Illustrated by John Goss and Lester M. Chace

Vintage children’s book containing many fairy tales and fantastic illustrations.

FIRST EDITION, 1916

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$200

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The Prince and the Pauper

by Mark Twain, with 192 Illustrations

PETER AND THE PRINCESS

Set in 1547, it tells the story of two young boys who are identical in appearance: Tom Canty, a pauper, and Prince Edward, son of King Henry VIII. RARE

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Andersen’s Fairy Tales

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$100

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Andersen’s fairy tales present lessons of virtue and resilience in the face of adversity. c.1900

Illustrated by John Rea Neill, the Illustrator of the Wizard of Oz!

FIRST EDITION, RARE BOOK PUBLISHED BY REILLY & LEE CO., CHICAGO, 1920

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by Hans Christian Andersen, Illustrated in color

by Carl H. Grabo

John Rea Neill (November 12, 1877 - September 19, 1943) was a magazine and children’s book illustrator primarily known for illustrating more than forty stories set in the Land of Oz, including L. Frank Baum’s, Ruth Plumly Thompson’s, and three of his own.

His pen-and-ink drawings have become identified almost exclusively with the Oz series.

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A Child’s Garden of Verses

by Robert Louis Stevenson, Leather

This book is in wonderful condition. Hardcover.

Master bound in orange leather with a gilt, hand tooled child on right corner. RARE, 1928

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$25

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Bimbi: Stories for Children

by Ouida (Louisa de la Rame), Illustrated by Edmund H. Garret

This is a wonderful book containing many fairy-related stories. Great bedtime read.

SCARCE, 1898

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$60

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Pastel Coffee Cup Set Feel like Alice in Wonderland while you sip from these wonderful cups! $20

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Photo ©Narcisse Navarre

ETIQUETTE OF TEAS AND AFTERNOON RECEPTIONS

by MRS. JOHN A. LOGAN Author of The Home Manual, 1859 •  READ ON PROJECT GUTENBERG

T

eas and afternoon receptions are among the most informal entertainments given, and the difference between a large afternoon tea and an afternoon reception is little more than the name, though the latter is perhaps a shade more formal.

The day and hour of an afternoon tea may be written on a visiting card. For an afternoon reception, an “ At Home “ card is used. Only simple refreshments should be served at an afternoon tea. Thin slices of bread and butter, sandwiches, fancy biscuit or cake, tea, coffee, or chocolate, ice-cream, and bouillon are offered. Punch and lemonade — but no wine of any kind — may be added if desired ; and also salted almonds, cakes, candies, and other dainty trifles.

At an afternoon reception the table may be supplied with oyster salads, pates,

boned turkey, ice-cream, coffee, and bonbons.

Care should be taken to have the simple refreshments offered at an afternoon tea of the very best quality. English breakfast tea is now preferred, served with cream, cut white sugar, or slices of lemon for those who like tea made in the Russian style.

The hostess should shake hands with her guests and receive them cordially ; any formality is out of place on an informal occasion.

If the number of guests is small, the hostess should walk about the room, talking with her visitors ; if large, she should remain near the door, and have the aid of other ladies, who should entertain the guests, ask them to take refreshments, and make introductions when necessary.

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_FOOD

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EARL GRAY MADELEINS eggs. Using the stand mixer or an electric hand mixer (I have a hand mixer), beat the eggs, sugar and zest for 2-3 minutes, until pale and thick.

Ebon et Noir / Issue 01

There is something absolutely divine about biting into a freshly baked madeleine. I’ve been baking madeleins for years now and have tried many variations on the classic recipe . Among my favorite recipes is the one that calls for imbuing bergamot in the mix. If you love Earl Gray Tea, you will love these delicious cakes.

Add the honey and vanilla extract and beat for 1 minute. Switch to a rubber spatula and gently fold in the dry ingredients. When they are incorporated, fold in the butter.

(Recipe makes 12 cookies) • • • • • • • •

5 tablespoons unsalted butter, plus more for the pans 2 tablespoons loose Earl Grey tea 3/4 cup flour 1/2 teaspoon baking powder Pinch salt 1/3 cup sugar Finely grated zest of 1/2 lemon 2 large eggs, at room temperature

Melt the butter in a saucepan or in a microwave. Add the tea and allow it to infuse for 10-15 minutes. Line a small sieve with a double layer of damp cheesecloth, then strain the butter into a small bowl; discard the tea leaves. Set aside.

Whisk together the flour, baking powder and salt.

Place the sugar and lemon zest in the bowl of a stand mixer or another large bowl and, using your fingertips, work the zest into the sugar until the mixture is fragrant. Add the

Press a piece of plastic wrap against the surface of the batter and refrigerate for at least 3 hours, or for up to 2 days. This long chill will help the batter form the hump that is characteristic of madeleines.

When you’re ready to bake, preheat oven to 400 degrees. Lightly grease 12 full-size madeleine molds, dust the insides with flour and tap out the excess. Spoon the batter into the molds.

Bake for 12 to 14 minutes (but start checking after 8 minutes), or until the madeleines are golden and the tops spring back when touched.

Remove the pan from the oven and release the madeleines from the mold by rapping the edge of the pan against the counter.

Transfer the cookies to a wire rack to cool to just-warm or room temperature.

Per cookie: 119 calories

Photo ©Karen Gardiner

Tea Sampler by ArtfulTea on Etsy Tea samples are handmade with luxury loose leaf tea individually spooned into an unbleached tea filter bag. $9

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INSPIRATIONS_

Ebon et Noir / Issue 01

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HAROLD GAZE ONE OF THE GREAT BOOK ILLUSTRATORS

“

It’s easy to believe in magic when you’re young. Anything you couldn’t explain was magic then. It didn’t matter if it was science or a fairy tale. Electricity and elves were both infinitely mysterious and equally possible — elves probably more so.

– Charles de Lint

H

arold Gaze (1884-1963) was amongst the most unique Australasian illustrators, yet his accomplishments have still to be completely acknowledged, and his life to be precisely graphed. Born in New Zealand, he traveled to London where he studied at various art schools. In the early years of the First World War, he drafted his first illustrations for the book If I Could Fly by Rose Strong Hubbell (1917). Toward the end of the war, he went to Australia, and settled in Melbourne, bringing with him a portfolio that awed critics and publishers alike. His first Australian title, The Wicked Winkapong, was distributed, with his own content in time for Christmas 1918 and cemented his vocation. In the following three years, Gaze composed and outlined eight further books for youngsters, and exhibited a portion of his work at the Victorian Artists’ Society. His quirky draftsmanship and stunning utilization of watercolor made him stand out as one of the few male artists in a field dominated by female illustrators. In the 1920s, he returned to London where he illustrated another six books. In 1927, he moved to the United States, settling in Pasadena, and living there until his death. In the 1930s, he got to be known as ‘The Bubble Man’, on the quality of a few effective solo shows which he held in Los Angeles. His later work, containing naked female figures, was devoted to adults, not children.

Harold enchanted his audience with more than twelve unique stories including Coppertop, The Goblin’s Glen, and The Merry Mite.

HAROLD Gaze’s books are very scarce and fetch very high prices. His original watercolors sell very well at auction, but remain affordable due partly to Harlod’s as-of-yet undiscovered status as a fine artist.

Ocean Fairy 1919

Right The Touch of Truth 1919

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Mermaid and Sea Cherubs

Water Fairy Illustration for a Poem of Love

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COTTAGE GARDEN

by E. T. COOK Author of Gardens of England, 1908 •  READ ON ARCHIVE.ORG • Photos ©Narcisse Navarre

N

othing, nowadays, is more characteristic, as we know, of our English countryside, and there is nothing that strikes a foreigner more forcibly, than the cottage gardens, with their aspect of homely comfort and even luxury, which everywhere fringe our roadsides and village lanes with the broidery of flowers.

Yet it is very doubtful whether it is an inborn bent towards the tillage of the soil« or even native-bred industry, which has fostered this love of flowers into the desire to cultivate plants for the sake of their beauty. Other peoples are far ahead of us in these respects. In France and in Belgium, our nearest neighbours, for example, we see small plots of garden ground cultivated with the utmost skill, crop succeeding crop of vegetable produce, tended with the keenest sense of profit and with seldom an inch to spare for any vanities in the way of flowers. In England alone we find cottage gardens of fair size, many of them sadly enough going to waste for want of care and practical diligence, but even so, often with the redeeming feature of some few bright flowers—while, at its best, the cottager’s plot is a marvel of gay colours and sweet scents, as well as of thrifty produce, and becomes the envy of many whose position in life is fax higher.

It may be the neutral tints of our mist-laden atmosphere that make sea-girt folk like ourselves crave for the contrast of rich, warm colour. Perhaps it is the sweet English springtime, surpassed in no other land, with its budding greenery, its primroses and flooring of blue, which stirs some lurking sense of the poetry which lies hidden below the surface of every nature, however rude and simple, that creates this longing to have such beautiful things always with us. Who can tell?

Whatever the compelling influence, the fact remains that the love of flowers, unless it is killed by that which is coarse and evil, is strong in the heart of every British man and woman ; and long may it be before it is displaced by any taste less worthy.

All the same, we may not dare to lay the flattering unction to our souls that gardening, in any true sense, is an instinct of pure British growth. Looking back through the records of past ages, we become dimly aware that before the beginning of the Christian era, the inhabitants of Britain, brave, and, for long years after their partial submission, practically untamable, were little conversant with arts or agriculture, and owed all the training and skill which, a few centuries later, made these islands one of the granaries of the world, to the influence of the all-conquering Romans.

To this day, indeed, we benefit by trees and fruits, if not by flowers, bequeathed to us at their departure. About the intervening cycles we know little, except that within the precincts of the monasteries and religious houses scattered up and down the land, the culture of simples and medicinal herbs and some few succulents was always fostered; but there is proof enough to show that nationally—whether it be regarded in its aspect of industry or of pastime—gardening gradually fell away until it became almost a lost art. It is true that at the end of the fourteenth century, when Piers the Ploughman made his complaint, the farmer, if he had little else to keep hunger from the door until August brought the new com, could boast at least of “parsley and leeks and many cabbage plants,” but a little later on, during the Tudor dynasty, so much elementary husbandry as even this implies had disappeared in the harsh misery of the times, for old records reveal that the Royal table itself had to be supplied with “sallets of herbs’’ brought over from Holland, while many a stout Dutch sloop carried its cargo of onions and carrots to Hull for the use of wealthy English nobles and well-to-do merchants. Luxuries such as these were not for the poor, for in those days, when “a sum equal to twenty shillings was paid at that port for six cabbages and a few carrots,’ a cabbage, from its rarity, was a gift worth offering. Thus, languishing, did the art of gardening stand stationary, until troubles

Gardens of Ravensrook In the English Cottage Style

Ebon et Noir / Issue 01

HISTORY OF THE ENGLISH

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_FEATURE

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and persecutions abroad made England, as she has ever been, a house of refuge, among more exalted persons, for Flemish weavers and cloth-workers. It is far from improbable that we may look back as far as to the reign of Queen Elizabeth for that reawakening of cottage gardening which has never since lost its hold, and which makes so greatly for the charm of rural England.

The newcomers, frugal -minded, and accustomed to supply their simple wants at home by the labour of their hands, and to live mainly upon the produce of their narrow patches of garden ground, were not slow to discover that, in their adopted country, they could add considerably to their resources by ‘cultivating coleworts and carrots, which, with peas and celery, met with a ready sale. Wherever they settled—in the Cinque Ports, in the Eastern counties, on the outskirts of London at Wandsworth or Battersea, in Manchester and Macclesfield, the spade and the hoe, no less than the shuttle and the loom, were necessities of daily existence to these luckless but undaunted emigrants. Thus they set the tune to which, in course of time, lazier feet began to dance the measure. By slow degrees, English craftsmen and cottars, taking heart, began to find out that they, too, might add to the comforts of home, and to the pence in the ill-filled pouch, by following the lead of the strangers. But the Flemish were florists no less than growers of dainty comestibles; and it is more than probable that flowers, appealing strongly to national sentiment, became the true incentive to the revival of gardening in provincial towns and country villages. It was about the same period that a wave of scientific research—botanical, in

common with other branches of learning—swept over Europe, and horticulture was eagerly taken up—as a pastime by the wealthy no less than as an aid to study by the scholar. Yet it is doubtful whether the leaven of gardening would have penetrated our English country life in the widespread manner that it has, had not men, of foreign extraction indeed, but of the like grade in life with the labourer and the artisan, pointed the way.

By these means, it came to pass that many a rare plant and bulb—relics of old homes gone beyond recall—found a passage, with onions and cabbages, over the storm-tossed waters of the North Sea into English gardens; and still more, perhaps, crossed the Channel from the opposite coast of France. For, with r^ard to decorative gardening, it is possible that, even more than to Flemish cloth-workers, we are indebted to the French silk-weavers who settled in Spitalfields—rural enough in those days—and whose love for floriculture was remarkable. With many of these fugitive Huguenots the tending of plants was a veritable passion—a solace, besides, to allay the fretting sense of exile—while they vied with each other to produce the finest and best specimens of their skill that could be grown.

The flower shows which were commonly held in friendly rivalry by these Spitalfields silk-weavers were the origin and precursors of those which survive in full vigour to this day. Thus, by example—no doubt also by precept—the science of gardening, little by little, was revived and strengthened after long decadence, through the length and breadth of the land, until not a farmstead, not a cottage, scarcely even the merest hov-

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el, but had its knot of flowers, its pot-herbs and roots, its “sin-green” on the thatch, or woodbine clinging to its poor mud wall.

In thus expressing, however, the gratitude that is due to foreign influence, there is no wish to belittle that which has survived and risen to a level above and beyond those early days of reawakening—our own English garden craft. The British artisan to this day may look upon vegetable fare as a poor staple of existence, never having learnt to prefer onion soup and salad to roast beef, but he seldom grudges garden ground to roses, or hollyhocks, or pinks; and in the well-loved borders of humble country homes, thousands of beautiful hardy plants which otherwise would have perished, have found a safe asylum when the fashion of the day cast them adrift from the parterres of the mansion and the villa. Moreover, when that same foreign influence tended towards the introduction of a formality in garden design which has always been more or less out of accord with the liberty and freedom of the national ideal, it has been the artless grouping of wallflowers and early tulips, of “pianies” and white lilies, of gillyflowers and love-inthe-mist, with rue and rosemary, southernwood and lavender, in the unstudied beauty of the cottage garden which has helped to keep the balance weighted in favour of the fuller grace of Nature. It has been well said of late by a writer in the Times that “this is the great difference between gardening in England and in other countries—that, in England the cottage garden sets the standard, whereas in other countries the standard is set by the garden of the palace or the villa.”

It is, in fact, the love of flowers, pure and simple, not landscape gardening nor schemes of colour, nor display of art, still less commercial value, that permeates the typical English garden, and forms one strong connective link between all ranks of English people.

The national importance of the cottage garden can hardly be rated too highly, for its influence for good, in very diverse directions, is incalculable. It is not merely that it can and does add considerably to the material well-being of the labourer’s feunily; it also keeps alive the sense of the beautiful in surroundings that are too often mean and rough; and, speaking generally, there is no surer test of individual character. Ill-kept, with waste of ground which might be, but is not, well stocked with valuable food, and with little thought of any adornment of flowers, the cottage garden is a sure indication of sloth, unthrift, and an unreliable disposition ; while the well-ordered plot at once suggests a balanced mind, contentment, and a comfortable, if humble home.

Ebon et Noir / Issue 01

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CONSERVATION_

ATTRACT_ BATS TO YOUR _GARDEN SAGE ADVICE FROM THE ORGANIZATION FOR THE CONSERVATION OF BATS •

Bats are among the most important consumers of night-flying insects, including mosquitoes, moths and beetles.

A single little brown bat can catch more than 600 mosquitoes in an hour. In our garden, we love watching our bats emerge from their hiding places and begin their nighttime ballet. Graceful, beautiful, and industrious, these little mammals are essential to the ecosystem of the garden.

To help attract bats and provide them with much-needed roosting habitat, you may want to consider putting a bat house in your yard. The houses can be placed on poles or buildings 15’ high in a spot that receives 6 or more hours of sunlight per day. Tree trunks are usually too shady for bat boxes. Some species such as red bats and hoary bats will use the foliage of shrubs and trees, while others, such as evening or Indiana bats, will roost under loose bark or in the cavities of rocks and dead branches.

There are several species of plants that are sure to attract bats to the garden.

Night blooming flowers and scented herbs, pale flowers that are more easily seen in poor light, so attracting insects at dusk and flowers with insect-friendly landing platforms and short florets, like those in the daisy or carrot families.

Bat-friendly gardeners should aim to plant a mixture of flowering plants, vegetables, trees and shrubs to encourage a diversity of insects, which in turn may attract different bat species. Flowers that bloom throughout the year, including both annuals and herbaceous perennials, are a good idea: night-flowering blossoms

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attract night-flying insects. Trees and shrubs provide food for insects and roosting opportunities for bats.

Clean, fresh water is as important to birds as it is to bats and other forms of wildlife. Keeping water in a saucer, bird bath or backyard pond is good for your animal friends.

HERBS AND PLANTS TO ATTRACT BATS: Grandfather’s Whiskers, Spearmint, Candytuft, Verbena, Moonflower, Sweet William, St. John’s Wort, Echinacea, Evening Primrose, Field Poppies, Borage, Yarrow, Mallow, Knapweed, Night-scented Stock, Fennel, Cornflower, Salvia, Red Valerian, Ox-eye Daisy, and many more...

 DOWNLOAD A COMPLETE GUIDE HERE. As with all wildlife, bats should be watched but not handled or chased. Bats are generally shy of humans, and rarely attack or fly after a person, but if caught or picked up, a bat may bite in self defense.

19 Ebon et Noir / Issue 01 Top Gothic Bat House by Bat & Eagle Co. Photo © Narcisse Navarre $169

The Bat Garden, A Traditional Collection of Seeds to Attract Creatures of the Night, 6 Species Bat conservation is important. 10% of the proceeds of this sale will go to bat conservation. $27

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WIRED SERIES Photographs by Diana Matisz

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ART_

Find her at:  WEB Diana Matisz is a photographer and writer from Pittsburgh, PA who often trades in old eyes for new.

She is constantly finding ways to fill an open mind and heart.

“

The wild clover days are not gone.

Honey still flows, Tupelo sweet and the bees, oh the bees, their stings libertine yet so welcome, so raw. And the wild clover days are still mine.

– Diana Matisz

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_SHOPPING

Garden Art Stakes by GardenArtStakes on Etsy Artistic markers that you can select based on the exact plants you have in your garden.

Photo by Ronnie Costa • $12 ea

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3x6 Cedar Raised Vegetable Bed by TimberlaneGardens on Etsy Made of durable Western Red Cedar.

Photo by Kasie Rogowski • $48

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FOR YOUR GARDEN

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Left

Fairy Garden Plaque by ArtandtheGarden on Etsy Sweet Garden Fairy Plaque made from Tinted Plaster • Photo by Pam • $25

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Left

Hand Painted Watering Can by bunnyhutchdesigns on Etsy This watering can has been hand painted with a vine of pink roses, white daisies, blue hydrangeas/violets, green leaves and purple butterflies Photo by Denise Monroe • $80

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Far Left

20 Succulent Cuttings by CoronaSucculents on Etsy Photo by Millie Brown • $14.95

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