Morris A. Kirchoff

Morris Alton Kirchoff, age 84, died peacefully at home, surrounded by his

family, on December 16, 2020, in Madison, Connecticut. Morris is survived by

his wife of sixty years, Mary M. Kirchoff, his daughters Jessica and Jennifer

Kirchoff, and his son Justin Kirchoff. Four grandchildren also survive him––

Morgan and Haley McCandlish, Lauren Bowlby, and Parrish Kirchoff.

Morris Kirchoff, an only-child, was born on November 26, 1936, in Lockport,

New York, to Clarence and Eltha Kirchoff. Clarence was an engineer and an

inventor and Eltha was an active member in her community.

With the goal of eventually becoming an art director at a book publishing

house, Morris chose to go to college at Rochester Institute of Technology (RIT),

earning a Bachelor’s Degree in Art & Design, in 1959. While at RIT, Morris met

and fell in love with a fellow student, Mary M. Hendrickson. They married on

August 13, 1960 and moved to Sudbury, Massachusetts.

Partly because RIT was on the cutting edge of the new web-printing technology,

Morris landed his dream job as the Art Director for Allyn & Bacon Publishing in

Boston. While there, he would work with many different artists, including

serigraph artists Norman Laliberté and Sister Mary Corita [Kent], along with

future Caldecott winner Jerry Pinkney.

In 1971, the family would move from Sudbury, Massachusetts, to Madison,

Connecticut, where Morris became the Art Director for the Dushkin Publishing

Group in Guilford, Connecticut. While working at Dushkin, Morris realized his

destiny was to start his own independent design studio in Madison,

Connecticut. Meanwhile, his wife Mary, started Marple Toys, an independent toy

company specializing in creating original hand puppets and wooden toys.

Morris Kirchoff’s time as Art Director at Allyn & Bacon had raised his

publishing industry profile as a bold new book designer and very capable book

production person who thoroughly understood both the challenges and the

opportunities of the newest printing technologies. Paper and printing

companies were happy to work with someone who understood the changes

taking place in the publishing industry. Publishing houses like Houghton

Mifflin in Boston and Harcourt Brace Jovanovich in New York City offered work

contracts that were helpful in getting his new company off to a good start.

One of the most well-known and well-respected people in the publishing

industry also took notice that Morris Kirchoff had started his own company.

That person was Helen Wohlberg, the first person in America to represent

artists to publishers. She had started her company in the late 1920s and had

quietly begun to think about retirement. Helen had gotten to know Morris

when he was Art Director at Allyn & Bacon. She appreciated that he

understood artists and had respect for them. He also had integrity––something

very important to her––and he was clearly in publishing for the long-haul.

Helen Wohlberg began to feel that if they were to merge his new book design

studio and her long-established artists’ representation business, it could be

a fine fit and she could set a gradual retirement date, not more than five

years out.

In 1974, Helen and Morris talked over the idea of merging their companies and

they agreed to proceed. Helen Wohlberg very graciously suggested that the

Kirchoff name should be first, as she would be the first to retire. And so they

created Kirchoff/Wohlberg and became business partners. Fortunately, it was

an extraordinarily good partnership and all went well. Long after Helen’s

retirement, they remained the best of friends.

Ronald Zollshan, who had been the first person Morris Kirchoff hired once he

started his new book design studio, handled things at the Studio on a full-time

basis, while Morris began weekly commutes to New York City once he had

merged with Helen Wohlberg’s company. At first, Helen introduced Morris to

her long-time clients and the artists she represented, including artists like Lois

Ehlert (Caldecott Honor Book recipient for Color Zoo; illustrator of Chicka

Chicka Boom Boom) and the painter/illustrator Rosekrans Hoffman.

Morris found a new office space near to Helen’s office and the process of

retirement began for Helen. Morris used part of his weekly time in New York to

visit the Madison, Connecticut, Studio’s clients that were located in New York.

Once Helen Wohlberg had fully retired and Kirchoff/Wohlberg became whollyowned

by Morris Kirchoff, Morris offered Ron Zollshan a partnership position.

As Kirchoff/Wohlberg continued to grow, Morris decided that the long-term

plan for the company should be to add other publishing services to the mix.

First, he added a photo-research department. This was followed by an editorial

department. And finally, he added an authors’ representation service, similar

to the oldest department, the artists’ representation part of the Company.

When Kirchoff/Wohlberg clients visited the offices, they would often note the

comfortable spirit of the offices with all the art on the walls and the staff

always cheerful. For the many people who worked with Kirchoff/Wohlberg over

the years, Morris was never distant. He was willing to talk with anyone, share

ideas, review layouts, and be encouraging. Morris appreciated talent and he

liked people. Though usually fashionably dressed, Morris was not stuffy. He

was quick to laugh and a wonderful conversationalist.

Professionally, Morris participated in numerous publishing organizations

including the Society of Illustrators (where he endowed a student scholarship

in honor of Helen Wohlberg); the Society of Photographers’ and Artists’

Representatives (where he served as Treasurer); the Society of Printers (where

he was a lifetime member); the Bookbuilders of Boston (where he served in key

positions); the Bookbinders Guild of New York (where he chaired the New York

Book Show’s publications committee and the judging committee over a fiveyear

period); and the Association of American Publishers (where he created all

of the attendee programs for the Small and Independent Publishers Committee

events over a ten-year period).

In addition to all that Morris Kirchoff did for Kirchoff/Wohlberg, he also created

Turtle Books, a small, independent children’s books publishing house in New

York. The three founding members were Morris Kirchoff (President), John

Whitman (Publisher), and Ronald Zollshan (Vice-President). The publishing

house was created in 1996 and the first book was published in 1997. That

book was The Lady in the Box, a story about homelessness, written by Ann

McGovern and illustrated by Marni Backer.

Morris Kirchoff worked hard and had a passion for publishing but he also

knew how to have fun. Morris and his wife, Mary, shared interests in art,

antiques, theatre, and cooking. They would search for antique toys to add to

their collection. They would enjoy going to Broadway plays and musicals. They

looked forward to their annual November vacations to London, filled with

theatre, antiques, and good food. Those trips to England also fit in well with

Morris Kirchoff’s interest in history.

Morris was always supportive of his three children’s educational aspirations.

For Jessica that was art and book design; for Jennifer that was an upholsterer

for the Portsmouth Naval Shipyard; and for Justin that was to become an artist

and Professor.

Every summer, Morris would commute each week to the family’s beach house

instead of their home in Connecticut. At the Cape house on the beach, Morris

could relax, recharge, remember all the years when the kids were growing up

there, and appreciate the company of his and Mary’s dog, Brewster. Those were

good family times.

Condolences: Condolences can be sent to www.swanfuneralhomemadison.com

Thanks: The family would like to thank Virginija Babiliute, April Dionne, Cindy

Paolella, and Orlando Rivera for their care and dedication to Morris during his

final months at home this year.