From the first moment that Bearwolf Books came onto my radar, I knew that Catherine Gyllerstrom was building something special. Exploring the rising feelings of awe and gentle nostalgia, the stunning selection of mythic beauty and fantasy artworks in their publications got to the heart of me feeling truly enchanted – admittedly, a rare sensation in this modern age. Focusing on Illustrated Fantasy, Mythology, and Stories for Young Readers, BearWolf Books partners with select artists and writers to revive the dying art of quality storytelling. Taking the time to ensure each project is of the highest calibre, the unique books – including limited edition and signed editions – prints, and original art produced, reflects Catherine’s ethos for excellence.
Once upon a time, such richly detailed books were more prevalent. Moving against the snowballing of mass production, BearWolf Books slows down the pace and highlights the importance of once again treasuring our possessions. A new age of future heirlooms is being forged to spark young readers’ imaginations and, rich in complex beauty, the revival is most welcome.
Yet BearWolf Books is only one of many strings to Catherine’s artistic bow. Collector, Art Consultant, and Owner & Art Director of BearWolf Books, Catherine Gyllerstrom has also generously supported the Beautiful Bizarre Art Prize People’s Choice Award 2024. Her love for art is prevalent, and deeply embedded within her roots. “Each painting in my collection is like a memory capsule.” She shares, smiling. “I remember when I first saw it, what was happening in my life at the time, and how it made me feel.
I have been known to acquire art in some pretty unconventional ways. I will never forget driving to an art workshop where I was scheduled to speak and pulling over on the side of the highway to purchase a specific Naoto Hattori piece that was just released. I am also extremely patient and have waited years for certain paintings to come back on the market or for artists to create commissions for me.
Catherine Gyllerstrom
I wanted to learn more about Catherine and her adventures, and thankfully, she gracefully agreed to be interviewed. Read ahead to learn more about BearWolf Books and her projects.
Interview with Catherine Gyllerstrom
As the Owner and Art Director of BearWolf Books you’ve been a part of many stunning publication projects. Did you always envision yourself in the field of publishing?
Actually, I didn’t! Ever since I was tiny, I always knew that I would be a historian. It was my love of history that fostered my love for art and collecting. When I look at my collection and the books that we produce at BearWolf, the work is certainly informed by historical subject matter and artistic movements, particularly the PreRaphaelites. When creating BearWolf, I was certainly inspired by William Morris and the environment he created around The Red House and Kelmscott Press.
You mentioned that your art collection is like a memory capsule. Do you have any other memorable stories about the works you own?
I also have certain pieces that were given to me or purchased to mark momentous moments in my life. When I completed my doctorate, my father commissioned a painting of Chiron and his Student from Donato Giancola. Chiron is one of my favourite figures in Greek mythology. As the only educated centaur, he was tasked with training the demigods in not only battle, but also in academics. When he wasn’t working with the likes of Achilles and Asclepius, he spent time in scholarly pursuits of his own. Needless to say, that painting is very special.
Your history with art still feels embedded within your life now. I love that BearWolf Books focuses specifically on Illustrated Fantasy, Mythology, and Stories for Young Readers. It feels like these genres used to be much more prevalent – or at least, the opulent, graceful styles of art within these genres were! What drove you to focus on these aesthetics for your publishing house?
Exactly that! My initial inspiration occurred, because I missed the fairytale and mythology books that I grew up with that were filled with sumptuous illustrations that were full blown paintings in their own right. I used to carry around different volumes of Time Life’s Enchanted World Series the same way other children would carry around a security blanket. We exclusively use traditional methods to illustrate our books. Each illustration is oil, acrylic or graphite, and in our latest project we have chosen the timeless photographs of Psyché Ophiuchus to accompany the short stories of Sheridan le Fanu.
After I had my daughter, it became all the more obvious why these aesthetics were so important.
Every night instead of asking for a story before bed, she would demand that we carry her around the house to look at paintings. We would then tell her stories about the mythological creatures and characters in the art.
That’s when it hit me that she wasn’t getting what she needed from current children’s books. I think the prevalence of digital illustration has allowed publishers to pay artists less and to churn out books quickly. And, because the initial time and monetary outlay is less than it used to be, these companies are less invested in producing quality books.
I find these works uninspiring and dull. Children are intelligent little beings who are more than capable of appreciating complex art and we’re really doing them a disservice by oversimplifying the pictures in their books. As adults, who can read and have a firm grasp of language, we forget that illustrations are the main way they take in a story.
Catherine Gyllerstrom
I read that the BearWolf Books offices are located on the grounds of the old Scribner Estate where the famous publisher Charles Scribner lived and housed his authors while they wrote for his company – wow! How did it feel to move onto that estate?
It felt like all the stars aligned. I firmly believe that homes and buildings have an inherent soul or energy derived from their history, so it felt like the perfect place to create my own version of the Red House, William Morris’s country home where he and various members of the Pre-Raphaelite Brotherhood would gather, work on artistic projects, and have raucous parties.
I aspire to create a home where creatives can come, relax and have a good time. I always look forward to my annual Krampusnacht party that marks the end of the fall art show season. And, many artists, who are dear friends, have also contributed to the beauty of the home. Patrick J. Jones designed and created a seven painting panel installation for the dining room, featuring Jason and the Argonauts. They have just come back from an exhibition I curated at the Mazza Museum, so the room feels complete again. Annie Stegg Gerard also created a beautiful series of baby mythological creatures for my daughter’s playroom that BearWolf published in The Collectors’ Consortium series. I am truly honoured to carry on the legacy of this place.
How do you discover new artists and writers to work with?
I find artists through a variety of different avenues, such as museum shows, word of mouth, and rarely online, but my favourite way is through Science Fiction, Fantasy and Art conventions. There is something to be said about meeting an artist and being able to have a conversation with them in person. I find that you can tell a lot about someone through personal interactions and how they speak about their art. There are certain people who create absolute magic, but until you meet them you would have no idea that they are a complete nightmare and impossible to work with. Conversely, there are others whose work might be interesting at first glance, then with a little direction it becomes otherworldly! I also tend to work with artists who I have already established a relationship with through collecting. It is of paramount importance to me that BearWolf produces books and artwork that I would want for myself.
I’ve always been curious: what is the process between you, the author and artist(s) to create a new publication?
I usually have a project in mind before I approach an artist. When we decided to do an anthropomorphic Herakles project, I immediately thought of Erich J. Moffitt. There is something so beautifully distinctive about the way he paints animals, specifically their fur and the way he paints reflections of light. Luckily, he also liked the idea! Then I provide a list of illustrations for the story.
I like to give a minimal amount of direction, because one of my prerequisites for working with someone is that I have total confidence in their artistic ability to produce quality work. I want the artist to have creative freedom, because I think that is when they produce their best work. Going forward I may make some tweaks to their initial sketches and then await the final product. And, that is how a BearWolf book is born.
As part of your ethos to create a strong, supportive bond between you and the artists, I love that you also promote and sell unique originals, limited edition print runs and even Collector’s Cards of specific artworks. How do you work with the artists and decide which artworks to focus on for these additional products?
Before we even embark on a project, I always want to be certain that the artist is inspired and feels connected to the subject matter. So, choosing which pieces become limited editions or other products is truly a collaborative process. I always like to ask the artist which piece they feel most proud of, and I give that a tremendous amount of weight when making my decisions. I also strongly believe in going with my gut. And, of course, there is always a certain amount of practicality – if a print is extremely popular then we absolutely consider creating additional products with that art.
Is the printing and framing for these done in-house as well?
The framing is done in house, as the frame’s job is to enhance the beauty of the painting. I have a variety of frame sources that I work with to find the right one. We work with a local printer, who still does hand stamping and understands the aesthetics we convey with our books.
Thank you for taking the time to chat with me Catherine. To finish, we are honoured to have BearWolf Books come on board as the Platinum Sponsor for the People’s Choice award 2024 and the Platinum sponsor for the Emerging Artist award 2025! Why did you decide to sponsor?
I am thrilled to support and be a part of this competition! It is always so important that art and artists get the recognition they deserve. Having a People’s Choice award is crucial, because the popular opinion is something that should influence the appreciation of various art forms and markets. It is also quite validating to be voted the best by one’s peers. A huge congratulations to all of the winners and I hope to be a continued part of this competition in the future!
All images courtesy of Mat Robinson, Enduring Images Photography.
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