Edward Gorey Charitable Trust

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Edward Gorey Charitable Trust

Official account of the estate, art, and archives of Edward Gorey, benefiting animal welfare causes. Gorey championed.

Official account of the estate, art, and archives of Edward Gorey, benefiting the animal welfare causes Mr.

06/12/2026

2/30. “... but his lordship’s artificial limb could not be found.” Original art and lettering from THE OBJECT-LESSON (1958). Pen and ink on paper, 5 3/4 x 8 1/2 inches (cropped area).

06/09/2026

“One dull afternoon Piermont went up to the attic. There he put a new nib in his pen, took a sheet of his best paper, raised the lid of his inkwell, and began to write.” Original art and lettering from THE INTERESTING LIST, an ambitious work on which Edward Gorey embarked in the early 1970s but never completed. Pen and ink on paper, 5 1/4 x 5 1/4 inches (cropped areas), dated “5.i.72-5.i.72” and “6.i.72-6.i.72,” respectively, on the versos.

06/02/2026

“Fi!” Original art by Edward Gorey from the unfinished and unpublished LES INTERJECTIONS ESSENTIELLES (par Edouard Ensanglanté). Dated, “21.ix.77-21.ix.77 (i.e., begun and completed on September 21, 1977), on the verso. 5 1/2 x 5 1/2 inches (cropped area).

05/14/2026

1/30. “It was already Thursday.” Original art and lettering from THE OBJECT-LESSON (1958). Pen and ink on paper, 7 3/4 x 11 1/2 inches (cropped area).

04/22/2026

“Ticky would listen eagerly as the five professors sat talking to each other on Thursday nights. They talked about interesting things like the moon and the stars, and seemed to know so much about them that Ticky could almost believe they had visited all the planets in the sky.” Original art by Edward Gorey for Muriel Spark’s THE VERY FINE CLOCK (first published in 1968 by Alfred A. Knopf; new edition published in 2025 by Transit Children’s Editions). Pen and ink on paper, 4 1/2 x 7 1/5 inches (image).

04/21/2026

DONALD AND THE ... , by Peter F. Neumeyer. Original art by Edward Gorey for the covers of the book.
It was with great sadness that we learned last week of the death of children’s book author Peter Neumeyer on April 2 at the age of 96. Of the scores of authors whose books Edward Gorey illustrated, none enjoyed as close a professional and personal relationship with Mr. Gorey as Mr. Neumeyer did. Indeed, in his first letter to Neumeyer on September 16, 1968, Gorey confessed, “I’ve never had anything to do with the author of a book I was illustrating before” - but, that November, after seven weeks of close collaboration on Neumeyer’s DONALD AND THE ... and correspondence on all manner of things, with uncharacteristic openness Gorey wrote to Neumeyer, “you know far more about me than anyone else in the world.” Thank you for everything, Peter Neumeyer, and rest in peace.
Pen and ink and wash on paper, mounted to board, approximately 7 x 7 inches (cropped area of each cover).

04/11/2026

“The Kwongdzu has enormous claws; / Its character is full of flaws.” Original art and lettering from THE UTTER ZOO, “An improbable menagerie for Sunday’s child,” first published in 1967. Pen and ink on paper4 3/4 x 5 inches (cropped area).

04/08/2026

IN THE COMPANY OF STILL LIFE, an exhibition featuring original works by Edward Gorey and 39 fellow artists at ArtYard in Frenchtown, New Jersey, continues through May 31. This gorgeous and adventurous exhibition, curated by Clara Weishahn and Alex Cohn of Kings Oaks, explores the complex and enduring relationship between humans and objects through still-life paintings, prints, drawings, collage, sculpture, ceramics, photography, and found objects. “Capturing the ordinary and extraordinary, in turns eternal and ephemeral, still lifes tell our stories by proxy, becoming vessels for presence and time” (Weishahn and Cohen).
This Sunday, April 12, at 11:00 a.m., the Edward Gorey Trust’s good friend Russell Lehrer, who co-curated the recent SOMETHING ELSE ENTIRELY exhibition at the Society of Illustrators, will be delivering a “Tiny Talk” on Gorey, his still-life works, and his personal passion for collecting and living with objects. For more information, please visit the link in the bio.
IMAGES: 1. “Lint,” from LES URNES UTILES (1980), and “Mourning veil and cauliflower in the Uplift kitchen,” from ALMS FOR OBLIVION (1978), at ArtYard. 5. Exhibition Hallway. 3. Exhibition sign. 4. Exhibition sign (detail). (All photographs by .) 5. “Back of painting of Mt. Slope” from ALMS FOR OBLIVION.

03/30/2026

Rest in peace, Glen Baxter - Nuncio of Nonsense, Ambassador of the Absurd - who died yesterday, March 29, at the age of 82.
Mr. Baxter, a friend, fan, and favorite of Edward Gorey’s, is best known for his distinctive style of one-panel drawings, often captioned and typically featuring surrealistic or absurdist treatments of mid-century American and British pop culture motifs. As an art student in Leeds, England, during the early 1960s, Baxter encountered the writing of Frank O’Hara and developed an interest in New York School poetry and the mimeograph magazines then being introduced to London. After submitting some of his own pieces to ADVENTURES IN POETRY, in 1974 Baxter was invited to the U.S. to read at St. Mark’s Church in-the-Bowery - “I stood at the lectern, dressed in a tweed suit, and began to speak. People burst into spontaneous laughter. I had arrived” (from a 2016 interview in LITERARY HUB).
During that New York visit, the Gotham Book Mart hosted the first solo exhibition of Baxter’s work; Edward Gorey attended the opening and became the show’s first customer, purchasing ten of the pieces exhibited, and famously declaring, “Mr. Baxter betrays all the ominous symptoms of genius.”
IMAGES: 1. Front cover of FRUITS OF THE WORLD IN DANGER (Gotham Book Mart, 1974). 2. “Number One THE ORANGE” (from FRUITS ... ). 3. “Adolph Milkleg ‘The Human Butterfly’ IS AN OSTEOPATH,” from THE HANDY GUIDE TO AMAZING PEOPLE (Gotham Book Mart, 1974). 5. “’WE DON’T HOLD WITH NO DERRIDA ROUND HERE, STRANGER’ WARNED THE LIBRARIAN. Original art, 2002, sold at Piasa auction house, Paris, in 2013. 6. Photograph of a photograph of Glen Baxter with Edward Gorey at the Gotham Book Mart Gallery in 1976 (courtesy of Irwin Terry , with whom Mr. Baxter shared the image).

03/27/2026

“Years went by. Drusilla was still inclined to be forgetful.” Original art and lettering from THE REMEMBERED VISIT (first published in 1965). Pen and ink on paper (art and lettering digitally combined), 5 3/5 x 7 inches (cropped area).

Address

128 E 63rd St
New York, NY
10065

Website

http://www.edwardgorey.org/

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