once upon a time... a treasury of classic fairy tale illustrations

OnceUponaTime...

ATreasuryofClassicFairyTaleIllustrationsThis enchanting gallery transports viewers to a fairy tale world—an agelessfantasy realm inhabited by characters from favorite folktales and depicted byrenownedartists.Lovingly reproduced fromrareearlyeditions,more than180illustrationsportrayscenesfromstoriesbytheBrothersGrimm,HansChristianAndersen, and other sources, such as ancient Celtic and Norse legends.Breathtaking art, dating from 1867 to 1923, captures the genius of 23 periodillustrators, including Arthur Rackham, Gustave Doré, Edmund Dulac, KayNielsen,WarwickGoble,andWalterCrane.Among the imaginative interpretations are vignettes from “Sleeping Beauty,”“Cinderella,” “Rumpelstiltskin,” “Puss in Boots,” “The Snow Queen,” andscoresofotherfamiliarandlesser-knowntales.Theillustrations,manyofwhicharebrilliantlycolored,full-pageimages,appearwithacaptionthatincludestheartist’s name, the story fromwhich it’s drawn, and adescriptive lineor directquotationfromthetale.Bookloversofallageswillrejoiceinthistreasuryanditshappymarriageoffineartandfairytales.Dover(2008)originalpublication.192pp.8 ×11.Paperbound.

FrontispieceCoverplatefromHansAndersen’sFairyTalesandWonderStories

FRANKSCHOONOVER,1914

TableofContents

OnceUponaTime...-ATreasuryofClassicFairyTaleIllustrationsTitlePageCopyrightPageDedicationIntroductionArtistsandVolumesThePlates

ELENOREABBOTT, 1875-1935 - Grimm’s Fairy Tales, 1920 TheWildSwansandOtherStories,1922MABEL LUCIE ATTWELL, 1873-1964 - Hans Andersen’s FairyTales,1914A. DUNCAN CARSE, 1876–1938 - Hans Andersen’s Fairy Tales,1912HARRY CLARKE, 1889–1931 - Fairy Tales from Hans Andersen,1916HERBERTCOLE, 1867-1930 - Fairy-Gold:ABookofOldEnglishFairyTales,1906WALTERCRANE, 1845–1915 -Household Stories by theBrothersGrimm,1882GoodyTwoShoes’PictureBook,1901GUSTAVE DORÉ, 1832-1883 - Les Contes de Perrault [Perrault’sFairyTales],1867EDMUND DULAC, 1882–1953 - The Sleeping Beauty and OtherFairyTales,1910StoriesfromHansAndersen,1911CHARLESFOLKARD,1878-1963-Grimm’sFairyTales,1911

HAROLDJ.FORD,1860—1941-TheGreenFairyBook,1892TheCrimsonFairyBook,1903TheBookofRomance,1903TheBrownFairyBook,1904TheRedRomanceBook,1905WARWICK GOBLE, 1862—1943 - The Fairy Book; The BestPopularStoriesSelectedandRenderedAnew,1913REGINALDKNOWLES,1879—1950-NorseFairyTales,1910KAYNIELSEN,1886—1957-EastoftheSunandWestoftheMoon,1914InPowderandCrinoline,1913NOELPOCOCK,1880—1955-Grimm’sFairyTales,(n.d.)ARTHURRACKHAM,1867—1939 -TheAllies’FairyBook,1916EnglishFairyTales,1918SnowdropandOtherTalesbytheBrothersGrimm, 1920 Hansel and Grethel and Other Tales by the BrothersGrimm,1920LOUIS RHEAD, 1857—1926 - Hans Andersen’s Fairy Tales andWonderStories,1914WILLIAM HEATH ROBINSON, 1872—1944 - Hans Andersen’sFairyTales,1913CHARLESROBINSON,1870—1937-TheHappyPrinceandOtherTalesbyOscarWilde,1913HELEN STRATTON, ACTIVE 1891—1925 - The Fairy Tales ofHansChristianAndersen,1899HANS TEGNER, 1853—1932 - Fairy Tales and Stories by HansChristianAndersen,1900GUSTAFTENGGREN,1888—1956-D’Aulnoy’sFairyTales,1923MILOWINTER,1888—1956-HansAndersen’sFairyTales,1916

ToNatalieGrace

BeautyandtheBeast“BeautyandtheBeast,”GoodyTwoShoes’PictureBook

WALTERCRANE,1901

Introduction

Fairytales—populartheworldover—arestoriesofextraordinaryeventswhosepurposeistobothentertain,andeducate,theyoungandyoung-at-heart.Often,ataleconcludeswithamoral,oroffersalife-lesson,givingsomeaddedvaluetoanelderwhotakesthetimetosharethetalewithayoungone.Nothingismorevaluable,however,totheappreciationofafairytalethanillustrations:althoughreadingtoachildaboutacavernfilledwithsparklingrichesoramagician’srobeembroideredwithmagical patterns, or—as seen on these very pages—a beastdressed in princely garments sets the mind to imagining, showing that samereader (or listener)awell-rendered image furtherpushes themind tocreate itsown scenes of the tale. Illustrations also produce the effect of involvement.

Standing outside of a scene, but being able to observe its details, makes thereaderawitnessaswell.Illustrationhasalwaysbeenanimportantcomponentofbooks, beginning with the earliest forms of manuscripts. In the books beingproduced today, there isnoplacewhere illustration is stronger than in talesofthe imagination.Andwithin thisgenre,nostoryholdsabroaderappeal thanafairytale.

“ah!whatafrightyouhavegivenme!”shemurmured“BeautyandtheBeast,”TheSleepingBeautyandOtherTales

EDMUNDDULAC,1910

At the turn of the last century, when full-color printing was a novelphenomenonand readingwasoneof themost readilyavailableandaffordableformsofentertainment,largepublishinghousescreatedthe“gift-book.”Mostofthe illustrations in this volume come from such books.Gift-bookswere large,

extravagantlyproducedvolumespossessinglargenumbersofcolorillustrations,usuallyprintedonseparateplatesthatwerehand-tippedtothetextstock.Thesevolumesbecamesomethingtolookforwardtoat theholidays,andbythetimethat the first decade of the twentieth century was over, nearly every majorpublisher was producing its prized title in a “gift-book” edition. The bestillustrators were, in fact, commodities prized by each publishing house—publishers became aware that the buying publicwould eagerly await the nextbookfromtheirfavoriteillustrator.

Atlastsherememberedherdream,rushedtothegrass-plot,andsawhimlyingthereapparentlydead

“BeautyandtheBeast,”TheFairyBook;TheBestPopularFairyStoriesSelectedandRenderedAnewWARWICKGOBLE,1913

Morethananyothertype,thebookofchoiceforgift-bookpublishingwasthefairytale.Thepublicwasalreadyfamiliarwithandappreciativeofthesestories,and the books were something that every youngster would welcome into agrowinghomelibrary.Thesize,mass,andqualityoftheseeditionshelpedaddto

their longevity, and they often survived to be handed down to the nextgenerationofyoungreaders in the family—warming theheartsofparentswhohad read the tales and enjoyed their illustrations when they themselves werechildren.There is a common ground shared by fairy tales. They have been told in

scoresof languagesandbythousandsofstorytellers.Fairytaleshaveawayoftranscending boundaries, because they entertain with lessons that apply to allpeople and all cultures.Many of the scenes depicted within the pages of thepresenteditionwillstrikereadersasfamiliar,evenifthespecificillustrationsarenot.While the tales—having been impressed upon us at a young age—travelwithusinourmemories,whatoftenmakesthemostandlastingimpressionarethe images that accompany them. For example, we all carry an idea of “thebeast” inourminds,and theone thatwe imagine isprobably theonewehaveseenthemost.Gathered here in these pages are many of the dreams, and possibly a

nightmareor two, lovinglydepictedbyahandfulof artistswho skillfully, andexquisitely, combined the skills of visual storytelling and design. Someof theartistic styles areunique,whileothers followedpopular trends,but all twenty-three illustrators included inOnceUponaTime brought another dimension tothese beloved stories. Their own creative visions and interpretations have leftvividimpressionsongenerationaftergeneration.JeffA.MengesAugust2008

Everyeveningthebeastpaidheravisit“BeautyandtheBeast,”OldTimeStoriesbyCharlesPerrault

W.HEATHROBINSON,1921

SelectedBibliography

Dalby, Richard. The Golden Age ofChildren’s Book Illustration. MichaelO’MaraBooksLimited,1991.Elzea,Rowland, andHawkes,Elizabeth

H. (eds.) A Small School of Art: theStudents ofHowardPyle.DelawareArtMuseum,1980.Larkin,David(ed.)CharlesandWilliamHeathRobinson.Constable,1976.Meyer, Susan.A Treasury of the GreatChildren’s Book Illustrators. Harry N.Abrams,Inc.,1983.Peppin, Brigid. Fantasy: BookIllustration 1860-1920. Cassell &Collier Macmillan Publishers Limited,1975Vadeboncouer, Jim. “IllustratorBiographies” Bud Plant IllustratedBooks, July 4, 2008.http://www.bpib.com/illustra.htmWorth, Stephen. ASIFA-HollywoodAnimation Archive August 1, 2008.http://www.animationarchive.org/labels/animal.html

ArtistsandVolumes

FRONTISPIECE

FRANK SCHOONOVER, Cover plate forHans Andersen’s Fairy Tales andWonderStories,Harper&Brothers,NewYorkandLondon,1914

INTRODUCTION(BeautyandtheBeastplates)WALTER CRANE,Goody Two Shoes’ Picture Book, George Routledge andSons,LondonandNewYork,1901

EDMUND DULAC, The Sleeping Beauty and Other Tales, Hodder &Stoughton,Ltd.,London,1910

WARWICKGOBLE,TheFairyBook;TheBestPopularFairyStoriesSelectedandRenderedAnew,MacmillanandCo.,Ltd.,London,1913

WILLIAMHEATHROBINSON,OldTimeStoriesbyCharlesPerrault,Dodd,Mead,NewYork,1921

1.ELENOREABBOTT(1875–1935)

Grimm’sFairyTales,CharlesScribner’sSons,NewYork,1920The Wild Swans and Other Stories, George W. Jacobs &Company,Philadelphia,1922

9.MABELLUCIEATTWELL(1879–1964)Hans Andersen’s Fairy Tales, Raphael Tuck & Sons, Ltd.,London,Paris,Berlin,NewYork,Montreal,1914

17.A.DUNCANCARSE(1876–1938)HansAndersen’sFairyTales,AdamandCharlesBlack,London,1912

25.HARRYCLARKE(1889–1931)FairyTalesfromHansAndersen,J.Coker,&Co.,Ltd.,London,1916

31.HERBERTCOLE(1867–1930)Fairy-Gold, A Book of Old English Fairy Tales, J.M. Dent &SonsLtd.,London,1906

41.WALTERCRANE(1845–1915)Household Stories by the BrothersGrimm,Macmillan andCo.,NewYork,1882Goody Two Shoes’ Picture Book, George Routledge and Sons,LondonandNewYork,1901

51.GUSTAVEDORÉ(1832–1883)LesContesdePerrault,J.Hetzel,Libraire-Édituer,Paris,1867

57.EDMUNDDULAC(1882–1953)The Sleeping Beauty and Other Fairy Tales, Hodder &Stoughton,Ltd.,London,1910StoriesfromHansAndersen,Hodder&Stoughton,Ltd.,London,1911

67.CHARLESFOLKARD(1878-1963)Grimm’sFairyTales,A.&C.Black,London,1911

75.H.J.FORD(1860–1940)TheGreenFairyBook,Longmans&Company,London,1892TheBookofRomance,Longmans&Company,London,1903TheCrimsonFairyBook,Longmans&Company,London,1903TheBrownFairyBook,Longmans&Company,London,1904TheRedRomanceBook,Longmans&Company,London,1905

83.WARWICKGOBLE(1862–1943)TheFairyBook,TheBestPopularStoriesSelectedandRenderedAnew,MacmillanandCo.,Ltd.,London,1913

93.REGINALDKNOWLES(1879–1950)NorseFairyTales,S.T.Freemantle,London,1910

101.KAYNIELSEN(1886–1957)East of the Sun and West of the Moon, Hodder & Stoughton,

London,1914InPowderandCrinoline,Hodder&Stoughton,London,1913

111.NOELPOCOCK(1880–1955)Grimm’sFairyTales,Hodder&Stoughton,NewYork,(n.d.)

119.ARTHURRACKHAM(1867–1939)TheAllies’FairyBook,WilliamHeinemann,London,1916EnglishFairyTales,MacmillanandCo.,Ltd.,London,1918SnowdropandOtherTalesbytheBrothersGrimm,Constable&Co.,London,1918Hansel and Grethel and Other Tales by the Brothers Grimm,Constable&Co.,London,1920

129.LOUISRHEAD(1857–1926)Han’s Andersen’s Fairy Tales and Wonder Stories, Harper &Bros.,NewYorkandLondon,1914

137.WILLIAMHEATHROBINSON(1872–1944)HansAndersen’sFairyTales,Constable&Co.,London,1913

145.CHARLESROBINSON(1870–1937)TheHappyPrinceandOtherTalesbyOscarWilde,Duckworth&Co.,London,1913

149.HELENSTRATTON(active1891-1925)TheFairyTalesofHansChristianAndersen,Truslove,Hanson&Comba,Ltd.,London,1899

157.HANSTEGNER(1853–1932)Fairy Tales and Stories by Hans Christian Andersen, TheCenturyCo.,NewYork,1900

165.GUSTAFTENGGREN(1888–1956)D’Aulnoy’s Fairy Tales, David McKay Company, New York,1923

171.MILOWINTER(1888–1956)Hans Andersen’s Fairy Tales, Rand McNally & Company,Chicago,1916

ThePlates

ELENOREABBOTT,1875-1935

Grimm’sFairyTales,1920TheWildSwansandOtherStories,1922

Opposite:Theking’sdaughterhadbeencarriedawaybyadragon“TheFourAccomplishedBrothers,”Grimm’sFairyTales

ELENOREABBOTT,1920

Elenore Plaisted Abbott was born in Maine. She studied in Philadelphia andParis, and was one of a handful of American illustrators who had the goodfortunetostudywithacclaimedcommercialillustratorHowardPyle,whowasaprofessor at Drexel University at the turn of the century. Abbott developed astrongcareerintheillustrationofbooks(suchasGrimm’sFairyTalesandSwissFamilyRobinson)andmagazines(SaturdayEveningPostandScribner’s,amongothers). She painted images for many stories, and fairy tales were a favoritesubject.

“Rustleandshakeyourself,deartree,Andsilverandgoldthrowdowntome”“Cinderella,”Crimm’sFairyTalesELENOREABBOTT,1920

Shelookedaround,andsawsixswanscomeflyingthroughtheair“TheSixSwans,”Grimm’sFairyTalesELENOREABBOTT,1920

ThegriffincarriedthemovertheRedSea“TheSoaringLark,”Grimm’sFairyTalesELENOREABBOTT,1920

“Earthmen,comeup!”“TheTwoKing’sChildren,”Grimm’sFairyTalesELENOREABBOTT,1920

TheWildSwansTheWildSwansandOtherStories

ELENOREABBOTT,1922

TheMarshKing’sDaughterTheWildSwansandOtherStoriesELENOREABBOTT,1922

Opposite:TheRedShoes“TheRedShoes,”HansAndersen’sFairyTales

MABELLUCIEATTWELL,1914

MABELLUCIEATTWELL,1873-1964

HansAndersen’sFairyTales,1914A successful artist whose work appeared in magazines, advertisements, andchildren’s books, British illustrator Mabel Attwell developed a visual“trademark” in her depiction of children—the cherub—that made her workinstantly recognizable. This imagery served her well, as her work foundapplications invariedmarketsandproducts, fromcalendars todolls tonurseryitems.Attwell’s illustrationsappeared ina long listofchildren’s literature thatwe regard as classics today, including such tales asCharlesKingsley’sWaterBabiesandLewisCarroll’sAliceinWonderland.J.M.BarriehimselfrequestedthatAttwellillustrateagifteditionofPeterPanandWendyin1921.

TheWildSwans“TheWildSwans,”HansAndersen’sFairyTales

MABELLUCIEATTWELL,1914

TheTinder-Box“TheTinder-Box,”HansAndersen’sFairyTales

MABELLUCIEATTWELL,1914

Thumbelina“Thumbelina,”HansAndersen’sFairyTales

MABELLUCIEATTWELL,1914

LittleTuk“LittleTuk,”HansAndersen’sFairyTales

MABELLUCIEATTWELL,1914

LittleIda’sFlowers“LittleIda’sFlowers,”HansAndersen’sFairyTales

MABELLUCIEATTWELL,1914

TheLittleMermaid“TheLittleMermaid,”HansAndersen’sFairyTales

MABELLUCIEATTWELL,1914

Opposite:ThePrincess...couldnotspeakaword.

Atlength,however,shegotupandgaveJohnherhand“TheTravellingCompanion,”HansAndersen’sFairyTales

A.DUNCANCARSE,1912

A.DUNCANCARSE,1876–1938

HansAndersen’sFairyTales,1912LittledocumentationexistsforthisBritishwatercolorist,whooftenpaintedfairytale subjects. This volume of Andersen illustrations is by far Carse’s mostenduringwork,andgenerallyisthemostavailable.

WheretheGardenofParadisewastobefound,ofthattherewasnotawordinhisbooks

“TheGardenofParadise,”HansAndersen’sFairyTalesA.DUNCANCARSE,1912

“Buthehasnothingon,”saidatlengthalittlechild“TheEmperor’sNewClothes,”HansAndersen’sFairyTales

A.DUNCANCARSE,1912

Shecaredonlyforabeautifullittlestatueofaboy,ofpurewhitemarble“TheLittleMermaid,”HansAndersen’sFairyTales

A.DUNCANCARSE,1912

Thefarmeropenedthelidalittleandlookedin“LittleKlausandBigKlaus,”HansAndersen’sFairyTales

A.DUNCANCARSE,1912

Anewcoachofpuregolddrewupatthedoor“TheSnowQueen,”HansAndersen’sFairyTales

A.DUNCANCARSE,1912

ThewholeCourtwaspresenteventothelittlekitchenwench“TheNightingale,”HansAndersen’sFairyTales

A.DUNCANCARSE,1912

Opposite:KayandtheSnowQueen“TheSnowQueen,”FairyTalesfromHansAndersenHARRYCLARKE,1916

HARRYCLARKE,1889–1931

FairyTalesfromHansAndersen,1916The Irish artist Harry Clarke got his start in design through his father, anaccomplished stained-glass craftsman. Though the younger Clarke is morewidely recognized today as an illustrator, it was stained-glass design thatremainedhisforte;hefocusedmostofhisenergiesonitduringhisbriefcareer.The illustrations thatClarkeproducedoften are suggestiveof stainedglass, asthey include large, flat expanses of color. Clarke’s bookwork showcases hisstrongdesignsense,aswellasadrawingstylethatisoftencomparedtothatofAubreyBeardsleyandKayNeilsen.Allthreeartistsweregreatlyinfluencedbythe commercial arts of the period.Between 1913 and 1928,Clarke completedworkonsixmajorbooks,ofwhichAndersen’sTaleswasthefirst.

SheshouldbeQueenofalltheFlowers“Thumbelina,”FairyTalesfromHansAndersen

HARRYCLARKE,1916

TheArtificialBirdhaditsplaceonasilkencushionclosetotheEmperor’sbed

“TheNightingale,”FairyTalesfromHansAndersenHARRYCLARKE,1916

“Haveyoureallythecouragetogointothewideworldwithme?”“TheShepherdessandtheChimney-sweeper,”FairyTalesfromHansAndersen

HARRYCLARKE,1916

Thewholedaytheyflewonwardthroughtheair“TheWildSwans,”FairyTalesfromHansAndersen

HARRYCLARKE,1916

Opposite:Headpiece“TheLambtonWorm,”Fairy-Gold:ABookofOldEnglishFairyTales

HERBERTCOLE,1906

HERBERTCOLE,1867-1930

Fairy-Gold:ABookofOldEnglishFairyTales,1906Aprolificmagazineillustratorwhomadethejumptoillustratedbooksattheendof thenineteenth-century,HerbertColeproducedworkfornumerous titles thathavebecomeclassics,suchastheRubaiyatofOmarKhayyam,TheRimeoftheAncientMariner,andTheMemoirsofSherlockHolmes.MostofCole’ssubjects,however,werenotchildren’sfare;the1906editionofcollectedEnglishtalesisoneofthefewColetitlestobesoldasachildren’sbook,althoughhisworkhasadecidedly sophisticated look, not far from the pre-Raphaelite works of theperiod.Cole’smethodhereisapplywatercoloroverpencil,whilethenumerousink pieces reflected the influence of woodcut illustrations done a generationearlier.Coleproducedillustrationsuntillateinhislife,workingonnewprojectsuntil1926.

Shedreamtthattwofairknightscametoherside“TheImpTree,”Fairy-Gold:ABookofOldEnglishFairyTales

HERBERTCOLE,1906

TheGreenKnight“TheGreenKnight,”Fairy-Gold:ABookofOldEnglishFairyTales

HERBERTCOLE,1906

ThePrincessofColchester“ThePrincessofColchester,”Fairy-Gold:ABookofOldEnglishFairyTales

HERBERTCOLE,1906

Atlasthecameintoachamber/Allgiltwithgold,herehesaw,uponabed,thecurtainsofwhichwereallopen,thefairestsightthateverhebeheld“TheSleepingBeauty,”Fairy-Gold:ABookofOldEnglishFairyTales

HERBERTCOLE,1906

LittleRedRiding-Hood“LittleRedRiding-Hood,”Fairy-Gold:ABookofOldEnglishFairyTales

HERBERTCOLE,1906

FatherTimeandtheFairies“TheDefeatofTime,”Fairy-Gold:ABookofOldEnglishFairyTales

HERBERTCOLE,1906

Orfeowentintothewildernesscarryingonlyaharpforcompanion

“TheImpTree”

Intwomonthsbutaday,theKing

HasbroughthisnewQueenhome“TheLaidleyWormofSpindleston”

TheThreeBears“TheThreeBears,”

Fairy-Gold:ABookofOldEnglishFairyTalesHERBERTCOLE,1906

TheSongofCinderella“Cinderella,orTheLittleGlassSlipper,”Fairy-Gold:ABookofOldEnglish

FairyTalesHERBERTCOLE,1906

Margery’snewPairofShoes“GoodyTwo-Shoes,”GoodyTwoShoes’PictureBookWALTERCRANE,1901

WALTERCRANE,1845–1915

HouseholdStoriesbytheBrothersGrimm,1882GoodyTwoShoes’PictureBook,1901Walter Crane’s career in illustration and book design was at its peak justprevious to the Golden Age of book illustration, but he was one of its mostinfluential practitioners, and his work had a lasting impact for generations tocome.Cranewould return again and again to fairy tales andmyths as subjectmatter,andhisrepeatedsuccessesmadehimoneofbookillustration’sfirstreal“stars”—hisnamebecameasellingpointforthebookshehadworkedon.Craneabsorbed many influences in forming his style, among them Medieval andRenaissanceworksfortheirsymbolism,andJapaneseprintingforitsdistinctiveuseoflineandcolor.

TheSleepingBeauty“TheSleepingBeauty,”HouseholdStoriesbytheBrothersGrimm

WALTERCRANE,1882

TheGooseGirl“TheGooseGirl,”HouseholdStoriesbytheBrothersGrimm

WALTERCRANE,1882

FaithfulJohn“FaithfulJohn,”HouseholdStoriesbytheBrothersGrimm

WALTERCRANE,1882

Rapunzel“Rapunzel,”HouseholdStoriesbytheBrothersGrimm

WALTERCRANE,1882

TheSixSwans“TheSixSwans,”HouseholdStoriesbytheBrothersGrimm

WALTERCRANE,1882

TheWedding“TheFrogPrince,”GoodyTwoShoes’PictureBook

WALTERCRANE,1901

Snow-White“Snow-White,”HouseholdStoriesbytheBrothersGrimm

WALTERCRANE,1882

ThePrincessAttheFountain“TheFrogPrince,”GoodyTwoShoes’PictureBook

WALTERCRANE,1901

Oneafteranotherhedraggedthemfromunderthebed“LittleTomThumb,”LesContesdePerraultGUSTAVEDORÉ,1867

GUSTAVEDORÉ,1832-1883

LesContesdePerrault[Perrault’sFairyTales],1867The French artist Paul Gustave Doré created imagery for all sorts of tales—historical, romantic, satirical, religious, and, on at least one occasion, acollectionoffairy tales. In1867heproducedasetofdrawingsfor the talesofPerrault, exhibiting the elements that he had become known for: expressivefigures,atmosphericspace,andamasterfulunderstandingoflightandshadow.During the mid-nineteenth century, Doré helped determine the direction thatillustrated books would take. His extraordinary imagery helped to create amarketforhigh-qualityillustratedbooks;inthefuture,these“gift-books”wouldcollect the best illustrations and writing to provide entertainment to wideaudiences.

InthewoodLittleRedRidingHoodmetoldFatherWolf“LittleRedRidingHood,”LesContesdePerrault

GUSTAVEDORÉ,1867

Shewasastonishedtoseehowhergrandmotherlooked“LittleRedRidingHood,”LesContesdePerrault

GUSTAVEDORÉ,1867

Reclininguponabedwasaprincessofradiantbeauty“TheSleepingBeautyintheWood,”LesContesdePerrault

GUSTAVEDORÉ,1867

“Help!themarquisofCarabasisdrowning!”“TheMasterCatorPussinBoots,”LesContesdePerrault

GUSTAVEDORÉ,1867

Heperceivedthatherlittlefootslidinwithouttrouble“Cinderella,orTheLittleGlassSlipper,”LesContesdePerrault

GUSTAVEDORÉ,1867

Sheusedtocreepawaytothechimney-cornerandseatherselfamongthecinders

“Cinderella,”TheSleepingBeautyandOtherFairyTalesEDMUNDDULAC,1910

EDMUNDDULAC,1882–1953

TheSleepingBeautyandOtherFairyTales,1910StoriesfromHansAndersen,1911EdmundDulacwasamongtheelitechildren’sbookillustratorsofhisday,whenthe gift-book was at its height of popularity. From 1907 to 1918, the Frenchartistproducedscoresofimagesfortenbooks,whosecontentrangedfromfairytales topoemsbyPoe to tales from theArabianNights.Greatly influencedbytheprintsanddrawingsthathehadenjoyedinhisyouth,Dulachadhighregardfor imagery from Eastern tales and subjects. Later in his career, these storiesbecamea specialtyof the “star illustrator” atLondon’sHodder andStoughtonpublishing house. The work that Edmund Dulac produced for Hans ChristianAndersen’sfairytalesiswidelyconsideredtobehisbest—theseimagesarewelllovednotonly for their artistry,but alsobecause, a century later, the talesarestillmeaningfultotoday’saudiences.

“Iamspinning,prettyone,”answeredtheoldwoman,whodidnotknowwhoshewas

“SleepingBeauty,”TheSleepingBeautyandOtherFairyTalesEDMUNDDULAC,1910

Soontheycaughtsightofthecastleinthedistance“BeautyandtheBeast,”TheSleepingBeautyandOtherFairyTales

EDMUNDDULAC,1910

“Ihavehardlyclosedmyeyesthewholenight!Heavenknowswhatwasinthebed.Iseemedtobelyinguponsomehardthing,andmywholebodyis

blackandbluethismorning.Itisterrible!”“TheRealPrincess,”StoriesfromHansAndersen

EDMUNDDULAC,1911

Thereindeerdidnotdaretostop.Itranontillitcamedowntothebushwiththeredberries.ThereitputGerdadown,andkissedheronthemouth,

whilebigshiningtearstrickleddownitsface“TheSnowQueen,”StoriesfromHansAndersen

EDMUNDDULAC,1911

Thefairydroppedhershimmeringgarment,drewbackthebranches,andamomentafterwashiddenwithintheirdepths

“TheGardenofParadise,”StoriesfromHansAndersenEDMUNDDULAC,1911

Butthelittlemermaidhadnoneedtodothis,foratthemeresightofthebrightliquidwhichsparkledinherhandlikeashiningstar,theydrew

backinterror“TheMermaid,”StoriesfromHansAndersen

EDMUNDDULAC,1911

Theypointedtotheemptyloom,andthepooroldministerstaredashardashecould,buthecouldnotseeanything,forofcoursetherewasnothingto

see“TheEmperor’sNewClothes,”StoriesfromHansAndersen

EDMUNDDULAC,1911

Iusedtomeetherinthegarden,theravine,andinthemanorfields.Shewasalwayspickingflowersandherbs,thosesheknewherfather

coulduseforhealingdrinksandpotions“TheWind’sTale,”StoriesfromHansAndersen

EDMUNDDULAC,1911

Thedwarfscriedoutwithwonderandastonishment,andbroughttheirlampstolookatherandsaid,“Goodheavens!Whatalovelychildsheis”

“Snowdrop,”Grimm’sFairyTalesCHARLESFOLKARD,1911

CHARLESFOLKARD,1878-1963

Grimm’sFairyTales,1911ThelongandprolificcareerofBritishcartoonistandillustratorCharlesFolkardoutlasted that of many of his contemporaries. Folkard focused his work onimagery for a young—or young-at-heart—audience, and his successwas two-fold.WithhiscreationofTeddyTail,hebecamethefirstdaily“cartoonstrip”artistinEngland,andhisillustrationworkforchildren’sbookswasasteadypartofhisoutputthroughouthiscareer.Folkard’sfirstmulti-plategift-bookwasTheSwiss Family Robinson (1910), followed in 1911 by a definitive treatment ofPinocchio.WithhiseditionofGrimm’sFairyTales,Folkardbecamea“houseillustrator”forthepublisherA&CBlack;heproducedgift-booksforBlackforthe next twenty years. Like his work for Pinocchio, this selection of imagesgainedalonglifethroughmanyreprintsandcanstillbefoundinprintnearlyacenturylater.

Onasuddenthedooropened,andadroll-lookinglittlemanhobbledin“Rumpelstiltskin,”Grimm’sFairyTales

CHARLESFOLKARD,1911

TheGianttookthetrunkonhisshoulder,butthetailorseatedhimselfonabranch

“TheBraveLittleTailor,”Grimm’sFairyTalesCHARLESFOLKARD,1911

Whentheprinceapproachedthethornhedge,tohimitwasnothingbutbeautifulflowerswhichofferednoresistancetohisprogress

“TheSleepingBeauty,”Grimm’sFairyTalesCHARLESFOLKARD,1911

TheFrogcalledafterher,“Stay,Princess,andtakemewithyou,asyoupromised,”butshedidnotstoptohearaword

“TheFrogPrince,”Grimm’sFairyTalesCHARLESFOLKARD,1911

Butthefiddlerbeginningtoplay,shewascompelledtodancewhethershewouldornot

“RolandandhisBride,”Crimm’sFairyTalesCHARLESFOLKARD,1911

Aboutmidnighttheycamein,andweregoingtositdowntotheirworkasusual;butwhentheysawtheclotheslyingforthem

theylaughedandweregreatlydelighted“TheElvesandtheShoemaker,”Grimm’sFairyTales

CHARLESFOLKARD,1911

TheSuddendepartureofUna’sParents“UnaandtheLion,”TheRedRomanceBook

H.J.FORD,1905

HAROLDJ.FORD,1860—1941

TheGreenFairyBook,1892TheCrimsonFairyBook,1903TheBookofRomance,1903TheBrownFairyBook,1904TheRedRomanceBook,1905BytheendoftheVictorianera,beforetheideaofacolor-platebookbecameapracticalreality,H.J.Fordwasturningoutscoresofbeautifulline-artpiecesforchildren’s books. He later produced color work as well, but he is largelyremembered today for his skilful use of pen and ink. If there is any commonground among Pre-Raphaelite and Victorian painters in England and bookillustrators, H. J. Ford provides that bridge. The painter Edward Burne-Joneswas among Ford’s closest friends, and Fordwas known to sharemany of thePre-Raphaelite methods (the use of intense, jewel-like colors and abundantdetail).Aboveallelse,Fordwassensationallyprolificduringtheprimeperiodofhiscareer—thelate1880suntilWorldWarI.Alongpartnershipwithprominentfolk and fairy tale historianAndrewLang kept Ford productive for the betterpartoftwodecades,yieldingovereighteencollaborativetitlesbetweenthetwo;lateron,FordworkedoncollectionsarrangedbyLang’swidow.

SigurdmeetsHelgabytheLakeandgivesheraRing“TheHorseGullfaxiandtheSwordGunnföder,”TheCrimsonFairyBook

H.J.FORD,1903

ShepherdPaulconquersthesix-headeddragon“ShepherdPaul,”TheCrimsonFairyBook

H.J.FORD,1903

TheMermaidasksfortheKing’sChild“TheMermaidandtheBoy,”TheBrownFairyBook

H.J.FORD,1904

IlonkaleftwiththeSwineherd“LovelyIlonka,”TheCrimsonFairyBook

H.J.FORD,1903

“Listen,Listen!”saidtheMermaidtothePrince“TheMermaidandtheBoy,”TheBrownFairyBook

H.J.FORD,1904

TheKissthatgavetheVictory“ThePrinceandtheDragon,”TheCrimsonFairyBook

H.J.FORD,1903

UnasavedbytheWood-folk“UnaandtheLion,”TheRedRomanceBook

H.J.FORD,1905

GorgonzolafliesoffonherDragon“HeartofIce,”TheGreenFairyBook

H.J.FORD,1892

TheGnomefallsinlovewiththePrincess“Rübezahl,”TheBrownFairyBook

H.J.FORD,1904

LancelotbearsoffGuenevere“LancelotandGuenevere,”TheBookofRomance

H.J.FORD,1903

“AreyounotsometimescalledRumpelstilzchen?”“Rumpelstilzchen,”TheFairyBook,TheBestPopularStoriesSelectedand

RenderedAnewWARWICKGOBLE,1913

WARWICKGOBLE,1862—1943

TheFairyBook;TheBestPopularStoriesSelectedandRenderedAnew,1913TheBritishartistWarwickGoblearrivedatbookillustrationafterastrongstartasamagazineillustratorinthe1890s.Hisimportantearlyworkincludesthefirstillustrations to accompany H. G. Wells’s War of the Worlds (1897). LikeEdmundDulac,Goble had a strong interest in imagery of theFarEast, and itbecamesomethingofaspecialtyforhimlateinhiscareer.Onthestrengthofhisworkonchildren’sbooks,GoblewashiredbythepublishinghouseMacmillanas a resident illustrator in 1909; the artist thereby had an annual gift-bookassignment that allowed him to create some of his best works for titles thatsuited both his interests and his strengths. His first book assignment forMacmillanwas illustrationsforCharlesKingsley’sTheWaterBabies. Inyearstofollow,Gobleproducedimagesforavarietyoffairyandfolk-taletitles.TheFairy Book, The Best Popular Stories Selected and Rendered Anew (1913)provided the opportunity for Goble to depict some of the best classic storiesfromGrimm,Andersen,andothers.

“Isitveryfarfromhence?”askedthewolf“LittleRed-RidingHood,”TheFairyBook;TheBestPopularStoriesSelected

andRenderedAnewWARWICKCOBLE,1913

Jack...seizedthehen,andranoffwithher,...reachedthetopofthebean-stalk,whichhedescendedinsafety

“JackandtheBean-Stalk,”TheFairyBook,TheBestPopularStoriesSelectedandRenderedAnew

WARWICKGOBLE,1913

“Youhavebuttogivemeasack,andapairofbootssuchasgentlemenwearwhentheygoshooting”

“PussinBoots,”TheFairyBook,TheBestPopularStoriesSelectedandRenderedAnew

WARWICKGOBLE,1913

Theking’sdaughterwasoverjoyedwhenshebeheldherprettyplaythingagain,pickeditup,andranawaywithit

“TheFrog-Prince,”TheFairyBook;TheBestPopularStoriesSelectedandRenderedAnew

WARWICKGOBLE,1913

Theywereveryfriendly,however,andinquiredhername.“Snowdrop,”answeredshe

“LittleSnowdrop,”TheFairyBook;TheBestPopularStoriesSelectedandRenderedAnew

WARWICKGOBLE,1913

Stoppingbesideafountain,sheletherhairfallloose,anddippedherwearyfeetinthecoolwater

“TheBlueBird,”TheFairyBook;TheBestPopularStoriesSelectedandRenderedAnew

WARWICKGOBLE,1913

There,oneday,heheardavoice,andpresentlyafterwassurprisedbytheappearanceofamermaid

“TheYellowDwarf,”TheFairyBook,TheBestPopularStoriesSelectedandRenderedAnew

WARWICKGOBLE,1913

Thequeenthrewoneoftheshirtsovereachofthem,andwhentheshirtstouchedtheirbodies,theywerechangedintoswans,andflewawayover

thewood“TheSixSwans,”TheFairyBook;TheBestPopularStoriesSelectedand

RenderedAnewWARWICKGOBLE,1913

Hehadsilvermailandasilversaddleandbridle“ThePrincessontheGlassHill,”NorseFairyTales

ReginaldKnowles,1910

REGINALDKNOWLES,1879—1950

NorseFairyTales,1910Along with his brother Horace, Reginald Knowles created some memorableimages for this collection of Norse fairy tales. Their work together offeredglimpses of the fairy realm or of heroic topics (if not a hybrid of the two).Decoration was also a constant element in Knowles’s books, and Reginald’sworkasabookdesignerwasoftencharacterizedbyornatescrollworkordelicateleaf forms. When given the opportunity to combine his decorative andillustrative arts, as in the title page of this source volume, Reginald Knowlesproducedtrulyuniquepieces.

BootsandthePrincessoutwittingtheTroll“BootsandtheTroll,”NorseFairyTales

ReginaldKnowles,1910

TheSquirrel,messengeroftheNorseGods,carryingtalesbetweentheDragonwhoguardstheWellofKnowledge,andtheEaglewhodwellsinthe

mystictreeYggdrasil,beneathwhosebranchessittheThreeNornsspinningthefatesof

menTitlepage,NorseFairyTales

ReginaldKnowlesandHoraceKnowles,1910

“FireandFlame!”screamedtheOgre“Shortshanks,”NorseFairyTales

ReginaldKnowles,1910

“Mindandholdtighttomyshaggycoat,andthenthere’snothingtofear,”saidtheBear

“Easto’thesunandWesto’theMoon,”NorseFairyTalesReginaldKnowles,1910

Theweddingprocession“TheBestWish,”NorseFairyTales

ReginaldKnowles,1910

TheyoungKingcameridingacrossthemoorandsawher(LeftandRight)“TheTwelveWildDucks,”NorseFairyTales

ReginaldKnowles,1910

Theweddingprocession“TheBestWish,”NorseFairyTales

ReginaldKnowles,1910

Wheneverythingwasready,downcametheTrolls(LeftandRight)“TheCatontheDovrefell,”NorseFairyTales

ReginaldKnowles,1910

“Tellmetheway,then,”shesaid,“andI’llsearchyouout”“EastoftheSunandWestoftheMoon,”EastoftheSunandWestoftheMoon

KayNielsen,1914

KAYNIELSEN,1886—1957

EastoftheSunandWestoftheMoon,1914InPowderandCrinoline,1913LikeHansChristianAndersen,KayNielsenwasasonofDenmark.Andersen’stales, aswell asNorse sagas,wereapartofNielsen’s childhood, and it isnotsurprising that they were the subjects of some of his large-scale projects.Nielsen’sstylizedillustrationscombineratherflatfiguresinornatesettings,withahintofartdecodesign.Aloveofdecorationalsoplayedamajorroleinhisart,expressedthroughavibrantvarietyofpatterns.AfterWorldWarI,therewasadecrease in quality book production, and Kay Nielsen tried his hand at stagedesignbeforeproducingseveralmorebookprojectsinthelate1920sandearly’30s.

TheNorthWindgoesoverthesea“EastoftheSunandWestoftheMoon,”EastoftheSunandWestoftheMoon

KayNielsen,1914

Thenhecoaxedherdownandtookherhome“TheLassieandHerGodmother,”EastoftheSunandWestoftheMoon

KayNielsen,1914

Sothemangavehimapairofsnowshoes“TheThreePrincessesofWhiteland,”EastoftheSunandWestoftheMoon

KayNielsen,1914

TheKingwentintotheCastle,andatfirsthisQueendidn’tknowhim,hewassowanandthin,throughwanderingsofarandbeingsowoeful

“TheThreePrincessesofWhiteland,”EastoftheSunandWestoftheMoonKayNielsen,1914

TheLadintheBattle“TheWidow’sSon,”EastoftheSunandWestoftheMoon

KayNielsen,1914

AndthereonathroneallcoveredwithblacksattheIronKing“Minon-Minette,”InPowderandCrinoline

KayNielsen,1913

PrincessMinon-MinetteridesoutintheworldtofindPrinceSouci“Minon-Minette,”InPowderandCrinoline

KayNielsen,1913

“Don’tdrink!”criedoutthelittlePrincess,springingtoherfeet;“Iwouldrathermarryagardener!”

“TheTwelveDancingPrincesses,”InPowderandCrinolineKayNielsen,1913

“Ifthatwillsuityou,wewillsitdownandeatittogether.”Sotheysatdown“TheGoldenGoose,”Grimm’sFairyTales

NOELPOCOCK,n.d.

NOELPOCOCK,1880—1955

Grimm’sFairyTales,(n.d.)The work of Noel Pocock (active 1910—1930) displays the influence of theAmericanillustratorMaxfieldParrish.Centeredheavilyonthefigure,Pocock’swork reveals a realistic treatment, despite the exaggerated emotions andexpression;smalltouchesofpatternandcoloralsopullintheviewer’sattention.The simple settings of Pocock’s illustrations are enhanced by a canny use oflightingtoadddimensionindarklywoodedareas.

Ashewastravelingthroughawood,hemetanoldwoman,whoaskedhimwherehewasgoing

“TheTwelveDancingPrincesses,”Grimm’sFairyTalesNOELPOCOCK,n.d.

Theysaidhewasathief,andtookhimtotheJudge“TheGratefulBeasts,”Grimm’sFairyTales

NOELPOCOCK,n.d.

Sohestoodbeforethemusicianwithhisgreataxe“TheWonderfulMusician,”Grimm’sFairyTales

NOELPOCOCK,n.d.

WhenFrederickandCatherinecamedown,theretheyfoundalltheirmoneysafeandsound

“FrederickandCatherine,”Grimm’sFairyTalesNOELPOCOCK,n.d.

Theguardofthegatestopthim,andaskedwhattradehefollowed“TheGiantwiththeThreeGoldenHairs,”Grimm’sFairyTales

NOELPOCOCK,n.d.

Ashelookedaroundtherestoodabovehimononeoftherocksalittledwarf“TheWaterofLife,”Grimm’sFairyTales

NOELPOCOCK,n.d.

“Somebodyhasbeenatmyporridge,andhaseatenitallup!”“TheStoryoftheThreeBears,”EnglishFairyTales

ARTHURRACKHAM,1918

ARTHURRACKHAM,1867—1939

TheAllies’FairyBook,1916EnglishFairyTales,1918SnowdropandOtherTalesbytheBrothersGrimm,1920HanselandGrethelandOtherTalesbytheBrothersGrimm,1920If there were a leading figure among the illustrators of fairy-tale books, itcertainlywouldbetheBritishartistArthurRackham.Startinghiscareerslowlyandwithcaution,Rackhamneverthelessemergedfromnewspaperandmagazinework in1905withan industry-changing treatmentofWashington Irving’s taleRipVanWinkle,whichcontainedanunprecedentedfifty-onecolorplates.Thesuccessofthisbookhelpedcreatethemarketforwhichmanyoftheseillustratedbookswere produced—the gift-book. For the next decade and later,Rackhamcreated lavishly illustrated books for each holiday season; he earned a lastingreputationforhissubtlecolorpaletteandexpressivelinework.

Thedragonflewoutandcaughtthequeenontheroadandcarriedheraway“TheGoldenApple-TreeandtheNinePeahens,”TheAllies’FairyBook

ARTHURRACKHAM,1916

Takingthekeysofthecastle,Jackunlockedallthedoors“JacktheGiant-Killer,”EnglishFairyTales

ARTHURRACKHAM,1918

TheyfoundthePrincessstillontherock,butthedragonwasasleepwithhisheadonherlap

“TheFourCleverBrothers,”SnowdropandOtherTalesbytheBrothersGrimmARTHURRACKHAM,1920

“OGrandmother,whatbigearsyouhavegot,”shesaid“RedRidingHood,”HanselandGrethelandOtherTalesbytheBrothers

GrimmARTHURRACKHAM,1920

Headpiece“TheOldManandhisGrandson”

HanselandGrethelandOtherTalesbytheBrothersGrimmARTHURRACKHAM,1920

TheThirteenthFairy“BriarRose,”SnowdropandOtherTalesbytheBrothersGrimm

ARTHURRACKHAM,1920

Headpiece“WhatCameofPickingFlowers,”TheAllies’FairyBook

ARTHURRACKHAM,1916

TheKingcouldnotcontainhimselfforjoy“BriarRose,”SnowdropandOtherTalesbytheBrothersGrimm

ARTHURRACKHAM,1920

Detail,Endpiece“TheDogandtheSparrow,”HanselandGrethelandOtherTalesbythe

BrothersGrimmARTHURRACKHAM,1920

Therestandsanoldtree;cutitdown,andyouwillfindsomethingattheroots“TheGoldenGoose,”SnowdropandOtherTalesbytheBrothersGrimm

ARTHURRACKHAM,1920

TheGoldenCastleofStromberg“TheRaven,”HanselandGrethelandOtherTalesbytheBrrothersGrimm

ARTHURRACKHAM,1920

IntheeveningthesevenDwarfscameback“Snowdrop,”SnowdropandOtherTalesbytheBrothersGrimm

ARTHURRACKHAM,1920

Detail,Endpiece“TheBattleoftheBirds,”TheAllies’FairyBook

ARTHURRACKHAM,1916

TheDwarfs,whentheycameintheevening,foundSnowdroplyingontheground

“Snowdrop,”SnowdropandOtherTalesbytheBrothersGrimmARTHURRACKHAM,1920

[He]blewhimselfuplikeashipinfullsail“TheUglyDuckling,”HansAndersen’sFairyTalesandWonderStories

LouisRHEAD,1914

LOUISRHEAD,1857—1926

HansAndersen’sFairyTalesandWonderStories,1914Born in England and educated both at home and in Paris, Louis Rhead wasworkingasanillustratorinAmericabythemid1880s.Rheaddiscoveredthathe

had a real talent for poster design, and he received poster assignments frommany of the leading New York publications. As the publishing boom turnedtowardsillustratedbooks,Louisandhisbrothers,GeorgeandFrederick,adaptedtheirstylesandfoundassignmentsillustratingclassicstoriesforthenexttwentyyears. After 1900, book illustration became Louis Rhead’s primary creativefocus. Rhead produced illustrations for hundreds of black-and-white pieces inbooks such asSwissFamilyRobinson, Treasure Island, Tales ofKingArthur,Robin Hood, and the selection of pieces, presented here, from his HansAndersen’sFairyTalesandWonderStories.Rhead’scolorworkwasunusualinthatfull-sizelinepiecesofcolorimageswereprintedelsewhereinthebook.

GerdasaidfarewelltotheRobber-MaidenTheSnow-Queen,”HansAndersen’sFairyTalesandWonderStories

LOUISRHEAD,1914

NothingbutthecryingofaLittleChild“TheIce-Maiden,”HansAndersen’sFairyTalesand

WonderStoriesLOUISRHEAD,1914

Hereshesatandgazedfixedlydown

“TheIce-Maiden,”HansAndersen’sFairyTalesandWonderStories

LouisRHEAD,1914

“Comeundermybearskin,”saidtheSnow-Queen“TheSnow-Queen,”HansAndersen’sFairyTalesandWonderStories

LOUISRHEAD,1914

[They]lookedintoeachother’seyesandheldeachother’shands“TheIce-Maiden,”HansAndersen’sFairyTalesandWonderStories

LOUISRHEAD,1914

[He]heldontillhisfoottouchedtheladder“TheIce-Maiden,”HansAndersen’sFairyTalesandWonderStories

LOUISRHEAD,1914

Theyswambeforetheshipsandsanglovelysongs“TheLittleSea-Maid,”HansAndersen’sFairyTalesandWonderStories

LOUISRHEAD,191

“Thiscomesofwishingtohavecleanshoes”“TheGirlwhotroduponbread,”

HansAndersen’sFairyTalesandWonderStoriesLOUISRHEAD,1914

Invitedtoafamilyconcert“TheToad,”HansAndersen’sFairyTalesand

WonderStoriesLOUISRHEAD,1914

Thumblingstoodatthedoorandbeggedforabitofbarleycorn.“Youpoorlittlecreature,”saidthefield-mouse

“Thumbling,”HansAndersen’sFairyTalesandWonderStoriesLOUISRHEAD,1914

“Hedidnotcometowooher,”hesaid,“Hehadonlycometohearthewisdomoftheprincess”“TheSnowQueen,”HansAndersen’sFairyTales

WILLIAMHEATHROBINSON,1913

WILLIAMHEATHROBINSON,1872

—1944

HansAndersen’sFairyTales,1913For the Robinson brothers, illustration was a family business.William HeathRobinson was the youngest of the three brothers, all of whom followed theirfather into the graphic arts, particularly illustration. William was by mostmeasures the most successful of the three: Not only did he have a good runproducing illustrations for the gift-book market during the early twentiethcentury,butheisevenmorehighlyregardedfortheingeniouscomicshedrewinthe years between thewars—a timewhen the popularity of the gift-book haddeclined, and many illustrators had drifted away from artistic endeavors.WilliamHeathRobinson’s book illustrationwork, especially for fairy tales, isamongthebest-lovedimageryoftheera.

Thebudopenedintoafull-blownflower,inthemiddleofwhichlayabeautifulchild

“TheMarshKing’sDaughter,”HansAndersen’sFairyTalesWILLIAMHEATHROBINSON,1913

Shestoodatthedoorandbeggedforapieceofbarley-corn“Tommelise,”HansAndersen’sFairyTalesWILLIAMHEATHROBINSON,1913

Itwashewhopulledherdown“TheMarshKing’sDaughter,”HansAndersen’sFairyTales

WILLIAMHEATHROBINSON,1913

Father-stork“TheStorks,”HansAndersen’sFairyTalesWILLIAMHEATHROBINSON,1913

Thesonlivedmerrily

“TheFlyingTrunk,”HansAndersen’sFairyTalesWILLIAMHEATHROBINSON,1913

“Yes,Iwillgowiththee!”saidTommelise,andsheseatedherselfonthebird’sback

“Tommelise,”HansAndersen’sFairyTales

WILLIAMHEATHROBINSON,1913

TheWildSwans“TheWildSwans,”HansAndersen’sFairyTales

WILLIAMHEATHROBINSON,1913

Princesseshefoundinplenty,butwhethertheywererealprincessesitwasimpossibleforhimtodecide.

“TheRealPrincess,”HansAndersen’sFairyTalesWILLIAMHEATHROBINSON,1913

Therichmakingmerryintheirbeautifulhouses,whilethebeggarsweresittingatthegates

“TheHappyPrince,”TheHappyPrinceandOtherTalesbyOscarWildeCHARLESROBINSON,1913

CHARLESROBINSON,1870—1937

TheHappyPrinceandOtherTalesbyOscarWilde,1913DuringtheGoldenAgeofillustration,therewasaninterestin“new”illustratedstories, aswell as thewell-known tales ofGrimm,Andersen, and Perrault. Asmallgroupofthese“new”taleshavebecomeclassicstous,acenturylater.Forexample,OscarWilde’s collectionTheHappyPrince hadbeen inprintonlyaquarter of a centurywhenCharlesRobinson,WilliamHeathRobinson’s olderbrother, took it on as an illustration assignment in 1913—the same year thatWilliam produced images for the tales ofHans ChristianAndersen. Charles’sworkhereisdecidedlymoremature,betterdevelopedandrefinedthanmuchofthework being done for comparable titles of the time. Themiddle son of thethreeRobinsonboys,Charleshadastrongcareerinillustration,creatingartformorethansixtytitlesinaspanofmorethanthirtyyears.

TheloveliestoftheQueen’smaidsofhonour“TheHappyPrince,”TheHappyPrinceandOtherTalesbyOscarWilde

CHARLESROBINSON,1913

TheRussianPrincess“TheRemarkableRocket,”TheHappyPrinceandOtherTalesbyOscarWilde

CHARLESROBINSON,1913

“WhatamiserablecreatureIam!”sobbedtheprincess“TheLittleSwineherd,”TheFairyTalesofHansChristianAndersen

HELENSTRATTON,1899

HELENSTRATTON,ACTIVE1891—

1925

TheFairyTalesofHansChristianAndersen,1899London-basedHelenStrattonwasconsideredtobeatthepeakofhercareerwithherillustrationsforacollectionoffairytalesbyHansChristianAndersen.Thiswork presented more than four hundred pen-and-ink illustrations by Stratton,rangingfromsmallornamentalvignettes tocomplexfull-pageandmulti-figurepieces.Inmanyoftheseimages,Strattonrevealstheinfluenceofthecommercialwork of the period, with Art Nouveau—inspired forms appearing within herimagery.Strattonproducedillustrationsforanumberofwell-receivededitions,including The Arabian Nights, George MacDonald’s The Princess and theGoblinandThePrincessandCurdie,andJeanLang’sTheBookofMyths.

Itwastheoldsoldier“TheRedShoes,”TheFairyTalesofHansChristianAndersen

HELENSTRATTON,1899

“What’sthat?”saidthewoman,lookinground“TheUglyDuckling,”TheFairyTalesofHansChristianAndersen

HELENSTRATTON,1899

[Theking]heldherbeforehimonhishorse“TheWildSwans,”TheFairyTalesof

HansChristianAndersenHELENSTRATTON,1899

BythattimetheyhadreachedLapland“TheSnowQueen,”TheFairyTalesof

HansChristianAndersenHELENSTRATTON,1899

TheswanscarriedEliseawayfromtherock“TheWildSwans,”TheFairyTalesofHansChristianAndersen

HELENSTRATTON,1899

FromeverytreehungthreeorfourKings’sons,whohadwooedtheprincess,buthadbeenunabletoguessherriddles

“TheFellow-Traveller,”TheFairyTalesofHansChristianAndersenHELENSTRATTON,1899

Andwhatwasmoredelightfulstill,thegoosejumpeddownfromthedish,andwaddledalongtheground,withaknifeandforkinitsbreast,uptothepoor

girl“TheLittleMatch-Girl,”TheFairyTalesofHansChristianAndersen

HELENSTRATTON,1899

Oneeveninghetoldastory...whichgreatlyimpressedthem“UndertheWillow,”TheFairyTalesofHansChristianAndersen

HELENSTRATTON,1899

Headpiece“TheTinder-Box,”FairyTalesandStoriesbyHansChristianAndersen

HANSTEGNER,1900

HANSTEGNER,1853—1932

FairyTalesandStoriesbyHansChristianAndersen,1900ThestunningrangedisplayedwithintheimagesbyHansTegnerpresentedhereisunmatched forworkbya single artist.Reflecting the experimentationbeingdoneinprintingattheturnofthecentury,Tegner’sillustrationsareprintedinavariety of dark colors, as well as being reproduced in a number ofmediums.While most of these plates are engravings done after paintings, there arereproductions of line-art drawings as well. Tegner (1853—1932), a well-respected artist in his homelandofDenmark and a renowned illustrator of theworksofHansChristianAndersen,hashadaninfluenceonfuturegenerationsofartists.

TheKingledJohannesoutintothePrincess’sgarden.Ineverytreehungthreeorfourskeletonsofprinceswhohadwooedtheprincess

“TheTravelingCompanion,”FairyTalesandStoriesbyHansChristianAndersen

HANSTEGNER,1900

Johannesuntiedhishandkerchiefandshowedtheprincesstheuglyheadofthetroll

“TheTravelingCompanion,”FairyTalesandStoriesbyHansChristianAndersen

HANSTEGNER,1900

Itwasoneofthetavernsofthosedays.Anumberofpeople,consistingofskippers,citizens,andlearnedpersonagesweresittingthere“TheGaloshesofFortune,”FairyTalesandStoriesbyHansChristian

AndersenHANSTEGNER,1900

Themaidsofhonorweresotakenupwithcountingthekissesthattheydidnotnoticetheemperor

“TheSwineherd,”FairyTalesandStoriesbyHansChristianAndersenHANSTEGNER,1900

TheLapwomanandtheFinwoman“TheSnowQueen,”FairyTalesandStoriesbyHansChristianAndersen

HANSTEGNER,1900

Headpiece“ThePrincessandthePea,”FairyTalesandStoriesbyHansChristian

AndersenHANSTEGNER,1900

“Ihadallthetwelvenew-bornwill-o’-the-wispsinmylap,”saidtheWomanfromtheMarsh

“TheWill-O’-the-WispsareinTown,”FairyTalesandStoriesbyHansChristianAndersenHANSTEGNER,1900

Heperceivedahorriblerock,asblackasink,andthenextminuteoneofthedragonscastingoutfirefromhismouth

“TheFairwithGoldenHair,”D‘Aulnoy’sFairyTalesGUSTAFTENGGREN,1923

GUSTAFTENGGREN,1888—1956

D’Aulnoy’sFairyTales,1923The Swedish artist Gustaf Tenggren arrived late to the Golden Age of bookillustration. When he entered the field professionally, he followed the leadcarved by Rackham, Dulac, and the Robinson brothers. By the mid-1920s,however, themarket for lavishly produced gift-bookswas beginning towane.Tenggren sought out opportunities in a multitude of areas, including books,magazines,andadvertising.In1936histalentswererecognizedbyWaltDisneyStudios; Tenggren was hired to work with on significant animated films,includingSnowWhite andPinocchio.AfterTenggren leftDisney, in1939,hisapproach to illustration was much simpler, possibly due to his successfulinvolvement with animation. Tenggren continued to flourish as a children’s-bookillustratorinthe1940sand’50s,butneverreturnedtotherichcomplexitythathedisplayedinhisearlierwork.

Somebodymusthavestolenmygoodwineandputinitsplacethesetrifles“GracieuseandPercinet,”D’Aulnoy’sFairyTales

GUSTAFTENGGREN,1923

Sheopenedtheboxandimmediatelyoutcameaquantityoflittlemen“GracieuseandPercinet,”D’Aulnoy’sFairyTales

GUSTAFTENGGREN,1923

Herecognizedinherthesamebeingwhosebeautyhehadadmiredinthegallery

“TheGoldenBranch,”D’Aulnoy’sFairyTalesGUSTAFTENGGREN,1923

Iknowyouwellqueen,andIknowthefearthatyouarein“TheYellowDwarf,”D‘Aulnoy’sFairyTales

GUSTAFTENGGREN,1923

“Shallweexchange?”hesaidtotheownerofthesheep“WhatevertheOldManDoesIsAlwaysRight,”HansAndersen’sFairyTales

MILOWINTER,1916

MILOWINTER,1888—1956

HansAndersen’sFairyTales,1916

AsanAmericanillustratorwhobuiltupalonglistofclassictitles,MiloWinterproducedworkthathadamorecomicedgethanmanyofhiscontemporaries;healso possessed a colorful palette and showed a real talent for storytelling.OriginallyfromPrinceton,Illinois,WinterattendedtheChicagoArtInstituteandthenwentontoalongcareerinchildren’sbooks.Heisbestrememberedtodayfor the work he did on the RandMcNally children’s book line. These bookscontainedscoresofcolorillustrations,manyembeddedwithinthetext,aswellaslarger plates. TheRandMcNally series includedAesop’s Fables, theArabianNights,Alice inWonderland, andGulliver’sTravels.After a long andprolificcareerasanillustrator,WinterbecameanarteditorforChildcraftin1947.

Thatcertainlywasapleasuretrip!“OléLuköié,”HansAndersen’sFairyTales

MILOWINTER,1916

“Comeintomywarmroomanddinewithme”“Thumbelina,”HansAndersen’sFairyTales

MILOWINTER,1916

Theswanlaidhisheadinherlapandshestrokeditswhitewings“TheWildSwans,”HansAndersen’sFairyTales

MILOWINTER,1916

ThepoorDucklingwasscoffedatbythewholeyard“TheUglyDuckling,”HansAndersen’sFairyTales

MILOWINTER,1916

HearrivedinthelandoftheTurks“TheFlyingTrunk,”HansAndersen’sFairyTales

MILOWINTER,1916

TheWatchmantraveledtothemoon“Fortune’sOvershoes,”HansAndersen’sFairyTales

MILOWINTER,1916