He was assigned "as a graphic designer to the Nürnberg war crimes
trials to perform necessary art and presentation work which would
facilitate the operation of the trial court both in London and
(his complete booklist is much longer than the following)
Betty Cavanna, Spring Comes Riding, 1950.
Louis Untermeyer, Magic Circle, 1952.
Beverly Cleary, Fifteen, 1956.
Virginia Sorensen, Miracles on Maple Hill, 1956.
Elizabeth Enright, Gone away Lake, 1957.
Eleanor Cameron, The Terrible Churnadyne, 1959.
Beverly Cleary, Jean and Johnny, 1959.
John Langstaff, The Swapping Boy, 1960.
Beverly Cleary, Emily's Runaway Imagination, 1961
Beverly Cleary, Sister of the Bride, 1963.
Eleanor Cameron, A Spell Is Cast, 1964.
Jean Fritz, Magic to Burn, 1964.
Elizabeth (Gillette) Baker, This Stranger, My Son, 1971.
("Teen-age Marc's steadily deteriorating relationship with his father reaches its nadir when Marc's participation in a peace demonstration results in his suspension from school.")
Sydney Taylor, All-of-a-Kind Family Downtown, 1972.
"Perhaps because the Krushes did not illustrate picture books, but rather books with pictures, they may seem to play a secondary role. Yet in a recent interview in The New York Times Book Review, Brian Selznick, Caldecott Medalist (for The Invention of
Hugo Cabret), cited The Borrowers as the 'most influential book' he read as a child. Selznick’s affectionate tribute, including the confession that he had experienced the book as nonfiction and built furniture for the Borrowers, was a welcome reminder
of the Krushes’ relevance today..."
"...Prizes are ultimately not the final or most significant evaluation of an artist’s work. Although the Krushes never won a Caldecott, they did illustrate one Newbery and one Newbery Honor book. The Newbery Honor went to Gone-Away Lake by Elizabeth
Enright, and the Newbery to Virginia Sorensen’s Miracles on Maple Hill. This is a wonderful novel which is only superficially dated and still deserves to be read and taught. The 'miracles' of the title are events in the natural world, as well as the
support of community in a small maple sugar producing town in rural Pennsylvania. The Krushes’ pictures, as they always do, work inextricably with the text to create characters and settings to which children will relate. Marly is a ten-year-old girl
whose father, a veteran and former POW, suffers from what we would today identify as PTSD. Had the book been written today, references to clinical depression, even violence, might enter the story. In 1956, allusions to the father’s anger and exhaustion
were enough to explain why the family needs a miracle..."