Schwartz, Leopold and the Almanac

On a cold snowy day in February, Charlie Schwartz was on my mind. For those unfamiliar, Charlie was, at the very least, a biologist and artist known widely in Missouri conservation circles and elsewhere. His wife, Elizabeth (Libby), formed the second part of a very prolific team. True conservation icons. And during my February ruminations I wondered about the relationship between Charlie and another legend, Aldo Leopold. A relationship that led to a collaboration culminating with Leopold’s wonderfully written essays of A Sand County Almanac punctuated by the exquisite sketches created by Schwartz.

My curiosity was aching and so the journey began. I figured the Leopold Archives, available through the Aldo Leopold Foundation, Inc. would give me all I needed to know. The archives are remarkable, voluminous, and well-organized, and with a little effort I found the rabbit trail I was seeking.

The story, rich in detail, was more than expected. As I paged through the many documents, I found wonderful letters written in rapid succession. Eloquent and succinct. Letters often passing each other enroute. Letters exposing the relativeness of time when compared to today’s standards, responses written quickly yet moving slowly to their destination. Written with great forethought, deliberation, and fullness.

For this story I had to make choices. There was simply too much, enough for a book. And so, I share a snapshot of the story in their own words, my curiosity partially satisfied.

January 3, 1947 - The first mention I found of Charlie being considered for the job of illustrator for the Leopold project was in a letter from Aldo to his son Luna. Aldo writes, “I think your idea of getting Charlie Schwartz for the essays is excellent and I wish you would go ahead with him and feel out the possibilities.”

Charlie was no stranger to the Leopolds and there obviously had been some conversation around this idea previously. Aldo was simply following up with Luna. “I would be agreeable to almost any kind of arrangement which meets his wishes and needs and I am thoroughly convinced that he will understand the essays and might even improve on our ideas on how they should be handled.”

An interesting backstory is also revealed. Apparently Charlie was butting heads with the Missouri Conservation Commission at the time. “Your account of Charlie's difficulties with the game Commission is very illuminating and certainly far from encouraging. This is the second time I've uncovered the attitude that a species is not worth saving if it furnishes neither hunting nor tourist bait. I know of no stronger evidence of ethical bankruptcy in wildlife administration.”

I’m not sure what the issue was between Charlie and the Commission, research for another day, but I suspect the species not worth saving was the prairie chicken.

Another revealing passage from the letter is Aldo’s acknowledgement of Libby’s role as part of Schwartz team, a progressive view for the time and something I attribute to Aldo’s past experience working with Fredrick and Francis Hamerstrom. Aldo clearly wanted Libby to be completely on board with the project. “It hardly needs to be said that Libby as well as Charlie should feel convinced that the essays are a good bet.”

June 25, 1947 - In the time since the January consideration with Luna, Charlie has expressed and communicated some interest in the Leopold project. The Leopolds have invited the Schwartz’s to visit them in Wisconsin.

Writing on letterhead from the “Territory of Hawaii” where Charlie is working for the Board of Commissioners of Agriculture and Forestry, this letter details his future plans with hopes of getting together with Aldo and his wife Estella in the not-too-distant future. Charlie, in a self-deprecating style, mentions his willingness to try to work on the project, stating “…I am conscious of so many limitations that I cannot assure my work will be satisfactory.”

Charlie also thanks Aldo for recommending him for the position of Chief of the Division of Information and Education of the Wisconsin Conservation Department. Charlie declined the position because he did not have time to prepare for the competitive exam required for his consideration.

August 5, 1947 - Charlie and Libby have been busy moving back from Hawaii, visiting family and friends, finding a new home and settling into a new routine. As a result, they’ve not been able to visit the Leopolds but Charlie heard of Aldo’s impending visit to Missouri for the dinner in honor of E. Sydney Stephens.

In this letter, Aldo expresses willingness to meet with Charlie in St. Louis. Aldo writes, “I will you send you the essays within a  week.” These are drafts for Charlie to review and inspire his interest. Aldo also writes, “I suggest you read Louis Halle’s Spring in Washington mainly to look at Jacques’ drawings.”

This recommended book, described as a nature journal, was published in 1947. Louis Halle was an official with the U.S. State Department and also a naturalist and avid birder. The book’s illustrator was Francis L. Jacque, an accomplished wildlife artist from Minnesota. It seems this book and illustrations left an impression on Leopold.

August 20, 1947 - Charlie confirms a meeting date with Leopold on September 14 and regrets not being able to travel to Wisconsin in the near future buts hopes to do so at a later date. Charlie also appreciates the work of Francis Jacque. “I was very much impressed with Jacques’ drawings in “Spring in Washington…I have followed and admired his work for some time and have a collection of the books he illustrated for his wife.”

September 17, 1947 - Aldo writes, “I greatly enjoyed our visit and I am much pleased with your interest in our common problem.”  The common problem is the essays. Charlie is on board and the project is moving forward. Leopold is sending a phenology paper for background research to aid in the development of the sketches as well as some photographs.

September 25, 1947 - In this letter, Charlie thanks Aldo for sending him the phenology reprint that he read “with considerable interest” as a source for his drawings for “Great Possessions,” the original title of the book that would later become A Sand County Almanac. Charlie writes, “I have continued reading the essays and hope to gradually accumulate additional reference material for the drawings so I can work on them at any opportunity I have.”

What makes this letter even more special is Charlie’s addition at the top – an ink pen sketch of a mouse peering over a ledge.

October 14, 1947 - Charlie received the Leopold photographs. “The one showing the take-off of a pheasant is exceptionally good,” Charlie notes. “Also, the skunk tracks made a good shot.” Charlie decides to send some of his Hawaii sketches to Aldo as samples of his technique. Both men are still exploring compatibility of words and pictures.

The Schwartz’s are now settled in Jefferson City, MO and mentioned having “an enjoyable” dinner with Nina (Leopold) and husband Bill Elder preceding a seminar he and Libby gave on their Hawaii survey.

November 17, 1947 - Charlie was recently made aware of the rejection of the essays by publisher Alfred Knopf. Leopold was very disappointed by this rejection and particularly the reasons given. In this letter Charlie expresses sorrow for rejection of the essays, offers encouragement, and tells Leopold that his “enthusiasm hasn’t dwindled.” 

Charlie also suggests having some illustrations available for “one or two of the essays to accompany the manuscript” when submitted to prospective publishers. “What do you think of this idea?” Charlie asks. This was a great idea by Charlie. He sees the value of the project being presented with illustrations as a way to convey the fuller vision of how it may be ultimately published. It also leads to the moment that convinces Aldo he made the right choice in going with Schwartz as an illustrator.

January 22, 1948 - Charlie informs Aldo that he is sending him a few sketches. Illustrations for Sky Dance and the Upland Plover essay, later titled Back from the Argentine.

January 28, 1948 - Aldo has received the first sketches from Charlie and was impressed seemingly to the point of excitement. Aldo writes, “My family, my staff, my students, and myself are all full of admiration for your drawings. The more I study them the more I like them. In addition to their over-all merit, I like the accuracy of your details even down to the species of grasses suitable for each.”

The fact that Aldo has shared the sketches with so many suggests he was truly impressed and likely excited to see his vision for the illustrations in the book finally coming to life.

“There is much debate over which one is the best. Everyone likes particularly the buffalo skull, but hates to see the fluttering woodcock against the sky relegated to second place.”

Leopold then suggests making photographic reproductions to be housed at different locations to guard against loss of all by fire and as a way of showing the publisher how important the sketches are to the essays. Leopold then mentions sending two additional essays for his review, including one called Good Oak which will need “a series of very simple sketches to divide by successive themes treated in the text.” Signed, “With personal regards and thanking you again for the drawings. Yours as ever, Aldo Leopold.”

January 29, 1948 - The next day after writing Charlie, Aldo writes to his son Starker. Dr. A. Starker Leopold, once the deer and turkey biologist in Missouri, is now employed by the Museum of Vertebrate Zoology, University of California-Berkley.

Aldo gushes further to Starker about the sketches, “I have received the first batch of Charlie Schwartz’s drawings for the essays. They are a knockout. I really didn’t know that he was that good. You will see them in March. No word yet from the two publishers now on the string.”

April 7, 1948 - Having made prints of the six sketches, Leopold has returned the originals to Charlie and has sent a set to a potential publisher for review. Aldo says, “The longer I look at the drawings, the better I like them.” Aldo is now starting to envision how the publisher may handle inclusion of the sketches and worries some about those decisions once a commitment has been made. Aldo signs off, “With best regards to you and Libby. Yours ever, Aldo Leopold”

April 12, 1948 - In this letter from Schwartz its clear the work on the project has intensified. Charlie has now received essays with sketch inserts and the discussion is focusing on final presentation possibilities including discussion about the technical side of displaying art within the final work. Charlie suggests Edgar Queeny’s “Prairie Wings” and illustrator, Richard Bishop as a reference to help convey ideas and possibilities. He also lobbies for some diversity in how the artwork might be produced stating,  “…I hate to conform to the conventions of uniformity.”

Charlie laments being behind on the other sketches. “I've made a few but my whole schedule has been thrown out of kilter in trying to catch up where I left off when I went to Hawaii and still finish the work I promised to do for the Hawaiian government.” He states further, “It looks like I'm alibying and perhaps I am but I'm still going to get your work done.”

Charlie also writes of his excitement working with Edgar Queeny doing film and sound recordings of a prairie chicken booming ground. Charlie states: “Our intentions are to make a good sound movie.” Charlie then closes the typed letter with a pen written message at the bottom: “The good oak is a good one!”

April 14, 1948 - Oxford University Press to Aldo Leopold: “Dear Dr. Leopold, it gives me very real pleasure to write you now to confirm the substance of our telephone conversation of this morning subject of course to agreement on royalty terms which we did not cover in our talk…It was agreed that we are to publish your book “Great Possessions”, as illustrated by Charles W. Schwartz.”

This letter then discusses the details of printing, royalties, and how Charlie Schwartz might be compensated.

April 16, 1948 - On this day, both Aldo and Charlie wrote one another. These would be the final letters between the two men. The day before, Aldo had wired the good news to Charlie. In his letter, Aldo informs him the book will be published in 1949, allowing for more time for work on the sketches. He also gives full control of how the sketches will be used in the book to Charlie, telling him to talk directly with the publisher.

Charlie’s letter to Aldo - “Dear Aldo, First of all I want to say how glad I am to hear about the publishers acceptance of the essays. That's really swell.”

Charlie then makes an inquiry. “Was the oak in “The Good Oak” a black oak? You mentioned a black oak in the text and I wanted to make sure I drew the right kind of acorns.”

On Wednesday, April 21, 1948, Aldo Leopold died unexpectedly. A neighbor’s fire was spreading into the fields, threatening the Leopold plantation. Hurrying with a backpack pump to wet down vegetation to slow the fire’s advance, he would succumb to a heart attack. Laying down with hands folded he would pass away; the fire “swept lightly over his body.”

April 24, 1948 - Dr. Joseph J. Hickey, a former student of Aldo’s and now an Assistant Professor of wildlife management at the University of Wisconsin prepares a confidential memo to a list of people Aldo had previously identified as persons he wished to read the final draft of “Great Possessions.” The group, called The Reading Committee, forms the nucleus of those who will now move the final project forward to publication. Hickey also writes Charlie, “I presume that Bill Elder has advised you of Aldo’s tragic death from a heart attack on April 21.”

In another letter on April 27, Hickey tells Charlie, “I cannot answer your question about the species of “Good Oak.” Hickey refers him to Bill Elder to confirm identification.

In a letter by Charlie to Hickey written on the same day Charlie writes, “I was glad to get your letter and to know that you have taken up the problem of having the essays published. Needless to say Aldo’s death was a shock and a great loss to us all. I feel it greatly because most of the pleasure in doing the illustrations was trying to communicate to him the same feelings in pictures that he had portrayed in words.”

This letter goes on to discuss particulars about the arrangement between Aldo and Charlie, including the open question of payment. One final excerpt from this letter by Charlie, “I want to make another statement to the committee which I had made to Aldo. I am not a good artist and if in any of my work I have achieved interesting results it is because I drew those things that particularly interested me or that I understood well enough to do. Consequently some of the illustrations will not be easy for me but because I am interested in all of them I will do my best.”

There are many more letters detailing the final steps in the publication of the book. It is remarkable how the final particulars were ultimately worked out, and as I reviewed the remaining correspondence I could sense the emotional weight of Aldo’s death and desire to see this project completed. It’s clear to me that Aldo and Charlie had a relationship based on mutual interest, respect, and trust. It’s also clear the family and others involved also deeply trusted Charlie’s role. I can only hope Charlie was pleased with the final outcome. It’s unfortunate Aldo and Charlie never shared the final moment when the book, A Sand County Almanac was finally published in October, 1949.

Many thanks to the Aldo Leopold Foundation, Inc for use of the material presented in this story.