The Elegantly Macabre Anatomical Plates Of Gautier-D'Agoty

by Stephen J. Gertz

A rare, stunning first edition, first issue copy of Jacques-Fabien Gautier-D'Agoty's  unsettlingly beautiful, elegantly macabre and disarming color-printed book, Anatomie des parties de la génération de l'homme et de la femme, published in 1773, has come to market. Within, what might best be described as fashionably attractive and eroticized living cadavers as still-life subjects depict the  reproductive as well as the musculatory, circulatory and nervous systems of man and woman.

Comprised of eight color mezzotints forming four pairs of figures with accompanying text, the plates are often found joined together, as reproduced here. Colin Franklin, in A Catalogue of Early Colour Printing From Chiaroscuro to Aquatint (1977), provides a spirited and enthusiastic description of the book:

"The Anatomie des Parties de la Génération begins with tall plates of a man and woman, each formed from two sheets and folding out from the book. All the old art is here, with a new discretion and moderation of tones. These first plates showing muscles, arteries and the nervous system are worked out and tabulated in detail. Behind the man is a ghostly arm and shoulder showing the patterns of veins. Among other adjuncts by his foot is an elegant wine-glass meant to demonstrate the texture of male semen mixed with water 'dans le moment de l'ejaculation.' Anyone may make this experiment, he says encouragingly, and repeat it several times.

"The female figure is a typical Gautier plate, stripped and dissected but with healthy head and throat, charming classical face and hair in perfect order, standing poised as a dancer. Indeed, a Gautier ballet might be devised with dancers in such disguise."

I'm thinking Saint-Saëns Danse Macabre, performed in Le Théâtre du Grand-Guignol.

Franklin continues: "These later learned works have longer descriptive and discursive texts than the merely explanatory sheets with accompanied the early plates [he produced in 1745-46, 1748, 1752 and 1754]. Gautier became fascinated by his subject. In the next folding illustration we find a fair instance of his semi-erotic treatment of a scientific theme - one woman standing in profile, her living head looking back to us above a naked breast; the womb open, with folded figure of a foetus. At her feet and knees, almost in a lesbian attitude, a nude figure finely modeled sits to show the 'parties de la génération' and from the front her dissected womb.

"The final folding illustration is of a similar sort, two figures of which the lower seems a curious relaxed classical nude with impeccable hair, her child just born and resting on her lap, the umbilical cord still uncut. Woman and child are in open dissection. At the mother's feet is a debris of palcenta and cords as if they have not yet been cleared from last night's party.

"That Gautier found the whole theme a fascinating one is clear from his text, which ranges from moral and physical distinctions on the nature of virginity, to an anecdote about Mary Queen of Scots" (pp. 47-48).

Jacques-­Fabien Gautier d’Agoty (1717–1785) studied briefly with Jacob Christoph Le Blon, the "inventor" of color printing, before embarking on his own career with a series of anatomical and natural history illustrations that successfully exploited the potential of color printing. Gautier worked with an anatomist, Guichard Joseph Duverney, lecturer in anat­omy at the Jardin du Roi. Duverney prepared the corpses, Gautier drew them, and then transferred each drawing  to four mezzotint plates, yellow, blue, red, and black, that were printed in succession to achieve the desired result. This printing technique demanded precision in registration, often absent in the images but present here. Many of the larger plates were then covered in varnish, in part to hide the imperfections in registration, as well as to give them the glossy look of varnished paintings. In this copy with sharp registration varnish was unnecessary and the plates (the first dated 1771, the remainder 1773) are far more attractive. 

No copies have come to auction within the last thirty-six years. The asking price is £16,500 ($26,070).

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GAUTIER D'AGOTY, Jacques-Fabien. Anatomie des parties de la génération de l'homme at de la femme: représentés avec leur couleurs naturelles, selon le nouvel art, jointe a l'angéologie de tout le corps humain, et ce qui concerne la grossesse et les accouchements. Paris: J.B. Brunet and Demonville, 1773. First edition, first issue. Folio (422 x 273 mm). [ii], 34, [4]. Eight color-printed mezzotint plates. Publisher's card portfolio with plates loose in pocket at rear as issued.

Wellcome III, p. 97. Blake, J., NLM 18th cent.,p. 169. Roberts and Tomlinson, Fabric of the Body n111.

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Images courtesy of William Patrick Watson Antiquarian Books, currently offering this volume, with our thanks.

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Educate! Amuse! In Color! The George M. Fox Collection of Children’s Books

by Alastair M. Johnston

There’s another children’s book show at San Francisco Public Library (through March 10th 2013), but this is the first since 1986 to draw on the library’s own superb resource: the George M. Fox Collection of Children’s Books.

The collecting of children’s books is a relatively modern phenomenon. There are great collections at Princeton (Cotsen Collection), in Toronto (Osborne Collection), Oxford (Opie Collection), UCLA, NYPL (Schatzki Collection) and in Florida (the Baldwin Library), that I know of, but the Fox Collection is remarkable, not only for its breadth but also for the condition of the books.

George Fox Sr was an executive at Milton Bradley and when they acquired the publishing firm of McLoughlin Brothers of New York, they didn’t want the firm’s archives and decided to dump them. Fox & another executive split them. The archives contained file copies of all their publications including a large cache of books by British publishers that were sent to them for consideration for republishing (or they may have been acquired to see what the competition was up to and ultimately to pirate them). They also contained the original woodblocks for some books as well as related ephemera. The original artwork that survived is at the American Antiquarian Society in Worcester, Mass. Fox added to the collection and gave over 2000 children’s books to the library in 1978. The current exhibition (the first since 1978) features over eighty examples of 19th-century color printing, especially color wood engraving and chromolithographs. Early hand-colored images are included as well. Highlights include “toy” and “moveable” books; work from the shop of Edmund Evans (who published all of Kate Greenaway's works) and many examples of fine British chromolithography from the firms of Thomas Nelson & Sons, Frederick Warne, Dean & Son and George Routledge & Sons.

McLoughlin Brothers’ motto “Educate and Amuse” marks an important turning point because, prior to the mid-nineteenth century, children’s books tended to be rather tedious and more about indoctrinating kids in good behavior than having fun. Catherine Sinclair’s Holiday House, 1839, is generally considered the first book written for children that does not have a built-in guilt-trip.

Tastes change over time also. The British books in the collection are sometimes marked up with alterations for the American market, or editorial comments. The Little Pig’s Ramble from Home, which is a personal favorite, has “Not much liked, very ordinary,” penciled on it. This is one of the titles that has survived elsewhere too and the Baldwin copy can be read on line at the childrenslibrary.org. In The Little Pig’s Ramble, Jack Pig puts on airs (a wig and top hat) and sets off to explore the world, only to be confronted with a pork butcher! Moral: Stay home if you know what’s good for you!

The books were often published in uniform series like “Uncle Buncle’s” or “Grandmama Easy's” and if the title was well-known it might generate sequels, as Ruth McGurk pointed out in her essay on the Fox Collection: “They are shameless in putting out sequels The Cock Robin story is spun into The Sad Fate of Cock Robin, Sick Robin and his Kind, Nurse Jenny Wren, Death & Burial of Cock Robin, Cock Robin Alive & Well Again and Mrs Dove’s Party. In the latter the guilty sparrow is punished by social ostracism.

And though he hopped in quite bold and undaunted,
He found not a bird that in kindness would greet him.”

He shoulda stayed in Las Vegas. Above is a spread from an 1850s book with hand-colored wood engravings: Mama Lovechild’s [sic] Life & Death of Cock Robin, published by McLoughlin Bros in New York from stereotyped plates.

Not on display is a personal favorite: the giant hen in Learning to Count: One, Two, Buckle my Shoe (by Augustus Hoppin, New York, Hurd & Houghton, ca 1870), but it is in the collection should you choose to explore it.

The books were advertised as cheap, colorful (some printed in ten colors) and above all avoiding vulgar sentiments. The big guns of children’s book illustration, Randolph Caldecott, Kate Greenaway and Walter Crane emerged in the late Victorian era and are well-represented in the collection. There’s even a Caldecott sketch “in the style of Greenaway.” As McGurk pointed out, “Walter Crane has a bent for whimsical detail.” She points out the Wedgwood bowls in the Three Bears rather luxe kitchen, labeled “Ursus Major, Ursus Minor, and Ursus Minimus”! Caldecott also wrote to Scribner's (who legally imported his books) complaining about the garish colors in the pirated editions of his books from McLoughlin and warning readers not to accept the cheap knock-offs.

Short but sweet, Four Footed Favourites by Mrs Surr, published by Nelson & Sons in London, and illustrated by Hector Giacomelli, appeared in the 1880s. The recently digitized SFPL copy can be read on the Internet Archive site.

The SFPL copy of Comic Insects is also found there. It has anthropomorphism reminiscent of Tenniel’s Caterpillar in Alice (and of course Grandville), but above all it has spectacular color printing from chromolithography, including gold (above, which is very tricky to achieve). Published by Frederick Warne, ca 1872, it was written by the Rev F A S Reid, illustrated by Berry F Berry, engraved by Dalziel Brothers and printed from plates made by Kronheim & Co.

Aunt Louisa’s Magic Modeller (London: Frederick Warne & Co., ca 1881) is a paper toy you cut out to build a replica of the Tower of London. These paper toys were very popular in France & Germany also and make the child a participant in the project rather than a proprietor.

More elaborate toy books include Six Mysterious Pictures from Chaos: affording great amusement and intense surprise among children and their little friends (London: Dean & Sons, ca 1878). Such moveable books inspired the Surrealists in their game of Exquisite Corpse. The show is edifying, and also amusing.

Laura E. Wasowicz, Curator of Children's Literature from the American Antiquarian Society, will discuss the history of McLoughlin Brothers (1858–1950), and their role as producers of color picture books in America. The lecture will be held in the Koret Auditorium of the Main Library, on Saturday, January 5th, at 2 p.m.
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Of Related Interest:

Draw Me A Story: Collecting Children's Book Illustrations.

A Movable Book Feast: The World's Greatest Collection Comes To Auction.

Movable Books Pop Up At Smithsonian.

Dean & Son Movable Books and How To Date Them.
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Kate Greenaway Talks Almanack Layout

by Stephen J. Gertz

Sometime in late 1891, Kate Greenaway wrote the following note to her printer/publisher, Edmund Evans.

Dear Mr Evans

I think it will be best to fill the months oblong with colour. I don't think all the page tinted as the oblong left white will look well - I have finished 4 months - only if you agree with me in this. I will add some snow to one - before I send them to you.

Yours sincerely, KG

I enclose 6 stamps for postage. Many thanks for books.

Opposite the letter's text, on page three, is the layout she suggests: a tall oblong black ink drawing at left of a woman in hat and cloak with left arm raised, with text to its right and below. The design is clearly for one of her almanacks.

It's a very special note: A) It is written to Evans, the most accomplished and celebrated color printer of his era and the man who published Greenaway's first book and developed her professional career; B) It refers to work in progress, always prized in an ALs; C) It contains a sketch in Kate Greenaway's hand.

But there's something even more compelling about the note. That sketch came to life.

January 1892. Snow Added.

The sketch was developed, finished, and is found in Kate Greenaway's Almanack for 1892 as the illustration for January - the woman in red cloak and hat - with snow added, per Greenaway's declaration in the note. This puts a huge dot on the "i," as in Ai! Ai! Ai!

This note possesses all that one could hope for in a signed autograph letter. The only thing that could have improved its content would have been if Greenaway had referred to John Ruskin, celebrated art critic, her mentor and close confidant:

"Not content with his own madness, Ruskin is driving me nuts. 'Love the little girls!" He's beginning to creep me out."

"Working for the printer and publisher Edmund Evans, Kate Greenaway's books and various designs soon became enormously popular in Britain and the United States and, with [John] Ruskin acting as champion and her advisor, her fame and stature rapidly increased" (Chris Beetles, The British Art of Illustration 1800-1991, p. 43) (1846-1901)

Edmund Evans (1826-1905) was the foremost publisher of color-printed books of his era. "In the 1860s Evans established himself as the leading and the best woodblock colour printer in London...The next big development in commercial colour printing in Britain came with the publication of the Toy Books...The demand for Toy Books became so great that - like other printers - Evans turned publisher, and commissioned the artists himself...Evans's...protégé was Kate Greenaway...In 1877 she took a book of her own verses and drawings to Evans, who immediately accepted them and obtained...agreement to publish them in a 6-shilling book to be called Under the Window. He printed 20,000 copies, which soon sold out, and he had great difficulty in keeping up with demand: Under the Window was still in print in 1972. Greenaway never allowed anyone other than Evans to engrave and print her illustrations, clearly recognizing how much Evans's interpretative skills and ability to match medium to style contributed to the final appearance of her work" (Oxford DNB).

"By the 1870s [Edmund] Evans' firm had a high reputation. 'No firm in London could come near the result that Edmund Evans could get with as few, say, as three colour-blocks, so wonderful was his ingenuity, so great was his artistic taste and so accurate his eye' [Spielmann and Layard, p. 41]...[Greenaway] was not a shrewd businesswoman but in dealing with Evans she did manage to achieve considerable success" (Engen, p. 52).


“The beginning of 1883 had seen the publication of Kate Greenaway’s first Almanack. Published at one shilling by George Routledge & Sons, and of course engraved and printed in colours by Mr. Edmund Evans, it achieved an enormous success, some 90,000 copies being sold in England, America, France, and Germany. It was succeeded by an almanack every year (with but one exception, 1896) until 1897, the last being published by Mr. Dent. The illustrations were printed on sheets with blank spaces for the letterpress, in which English, French, or German was inserted as the market demanded. There are various little conceits about these charming productions which are calculated to appeal to the ‘licquorish chapman of such wares’; so that complete sets of them already fetch respectable sums from the collectors of beautiful books, especially when they have not been divested of the paper envelopes or wrappers in which they were originally issued” (Spielmann and Layard (1905), p. 122).

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GREENAWAY, Kate. EVANS, Edmund. Signed Autograph Letter From Kate Greenaway to Her Publisher/Printer, Edmund Evans. N.p. [London], n.d. [1892]. 3 pp, including ink drawing. 4 1/2 x 7 inches (114 x 176 mm); 4 1/2 x 3 1/2 inches (114 x 88 mm), as folded.  

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Images courtesy of David Brass Rare Books, currently offering this item, with our thanks.
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Pogany's Parsifal in a Beautiful Inlaid Binding

by Stephen J. Gertz

Title page.

Willy Pogany's Parsifal of 1912 is one of the five books he designed and illustrated that immortalized his career as an illustrator, the others being The Rubáiyat of Omar Khayyám (1909), The Rime of the Ancient Mariner (1910),  Tannhäuser (1911), and Lohengrin (1913).

This, the limited edition, was originally published in a full white vellum binding richly gilt decorated. Here,  we see it in a masterful, singular, and very attractive pictorially inlaid binding, c. 1933-34, in full crushed crimson morocco by Riviere & Son.

The upper cover possesses a gilt-ruled border surrounding a brown, black, and green morocco inlaid frame of broad leaves climbing two spears of Christ as a snake coils through the lower section of the frame, all against a hand-pointillé'd background, the whole surrounding a sunken panel in brown crushed morocco with darker brown foliage at its base within which are three lilies with ivory-morocco blossoms atop bright green leafy stems. Rising from this motif is a staff supporting the banner of Jesus in pale blue-gray noil silk with gilt tassels and ornaments, a gilt crucifix at its top. Central on the banner is a chalice of acrylic glass in relief with gilt rays emanating from it and IHS, the sacred monogram of Jesus, in gilt within an ivory hemisphere rising from within the cup. Surmounting the central panel is the dove of peace, with wings spread, in ivory morocco.

The lower cover features a gilt-ruled border inside of which are two frames in black with gilt borders that highlight twenty-six small blindstamped hearts that lie between. Blindtooled dots within the innermost frame finish the cover. Five raised bands, inlaid compartments with red, ivory, brown and black floral and heart motifs within black, gilt-ruled frames highlight the spine. 

 

Inlaid pictorial doublures in deer brown, the upper featuring a Jesuit staff, a forest green wreath with emanating gilt rays enclosing its cruciform top, as six ivory lilies with green leaves flower the background along with a vine of thorns outlined in black.

Upper doublure.

The lower doublure is a variant of the upper, with a vine of thorns, three ivory lilies atop a single, long, leafy stem, the swords and helmet of a warrior for Christ in gray morocco with bright sheen highlighting in white, the swords' hilts in brown.

 

Each doublure is framed by turn-ins inlaid with green, dark brown, black, and deer brown in a foliate trellis. All edges gilt, and pale straw moire silk endpapers finish the binding. 

Though the binding is stamp-signed "J. and E. Bumpus of Oxford,"  it was, in reality, bound by Riviere & Sons. Bumpus of Oxford St, a London department store that sold books, won acclaim for accomplished bindings that they never created;  they farmed out their binding work to Riviere, amongst others, who, at this time, deep into the Great Depression, needed all the commissions they could get and was willing to surrender a formal attribution for their work).

Lower doublure.

I date this binding to c. 1933-34 on the following: Bayntun bought Riviere & Sons in 1939. Acrylic glass, the material used for the binding's chalice, was introduced into the marketplace in 1933; it may have taken a year for the new, miracle material to work its way down to artisans seeking novel materials to work with. Acrylic glass was used for this binding earlier after its appearance in the 1930s rather than later, we presume, simply because of its exotic (for its time a cool, and fine science novelty; this entire binding employs the finest materials available, even integrating fine silk into its front cover). Using acrylic glass later into the 1930s, after it became commonplace and inexpensive, would not have been considered by Riviere; it had, by then, lost its novel luster. This binding may very well represent one of the earliest uses by artisan of acrylic glass. True glass has rarely been used by binders; it shatters easily; acrylic must have  seemed the perfect material, at last. To the client, it was surely considered a modern marvel, a miracle of the age, and yes, prestigious. Acrylic glass was the nest big thing, the future, now. Everybody was happy. Plastic did not yet acquire the taint of being, well, plastic.

Text page. All have pictorial borders.

William Andrew ("Willy") Pogany (born Vilmos Andreas Pogány) (August 1882 – 30 July 1955) was a prolific Hungarian illustrator of children's and other books. Pogany's best known works consist of illustrations of classic myths and legends done in the Art Nouveau style. He also worked as an art director on several Hollywood films, including Fashions of 1934 and Dames.

 

The publication of Pogány's Parsifal was one in his trilogy of masterworks focusing on Wagner's Germanic tales, including Tannhäuser and Lohengrin, books that demonstrated a firm commitment to ongoing innovation resulting in the gorgeous suite of illustrations, including color lithographs, monotone and marginal illustrations and the delightful tipped-in color plates (produced with a four-color process) included in Parsifal.

Here, the themes of medieval chivalry, erotic love and moral test are lavishly illustrated  by Pogány with an outstanding use of iconography, form and color. And in this binding the Holy Grail has never looked so desirably... questible.

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[RIVIERE (Binder)]. [POGANY, Willy (Illustrator)]. ROLLESTON, T.W. Parsifal. Or, the Legend of the Holy Grail Retold From Ancient Sources with Acknowledgment to the Parsifal of Richard Wagner. London: Harrap & Co., n.d. [1912].

One of 525 copies signed by the illustrator, this being copy no. 396. Tall octavo (10 7/8 x 7 1/8 in; 275 x 181 mm). Unpaginated. Sixteen mounted color plates within decorative borders, numerous full-page illustrations, each text leaf with elaborate pictorial borders, the text in calligraphy.

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Images courtesy of David Brass Rare Books, with our thanks.
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18th C. Mezzotints Provide Moral to Rep. Weiner's Twitter Fiasco

by Stephen J. Gertz

If Congressman Anthony Weiner had, at the very least,  used this:

LADMIRAL, Jan. Brain of an Unborn Child (1738).

...he would not have caused inflammation and molto agita for all concerned in this:

LADMIRAL, Jan. Muscularis mucosae of the intestine (1736).

...by Tweeting this:

LADMIRAL, Jan. Human penis (1741).

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Jan Ladmiral (1698 - 1773) was a pupil and assistant to the great anatomical illustrator Jacob Christoph Le Blon (1670 - 1741). Afterward, Ladmiral, apparently, presumed ownership of Le Blon's secret invention for coloring mezzotint engravings, a process using three different impressions of primary colors (blue, yellow, and red) for one image and thus able to produce different color values without the use of black.

"Ladmiral offered his services in the making of colored anatomical representations to the famous anatomist, Albinus in Leyden. This anatomist put his (Ladmiral's] invention to the test and even permitted him to use two posthumous drawings by Ruysch…" (Choulant and Streeter, History and Bibliography of Anatomic Illustration, p. 267).

Between 1736 and 1741 Ladmiral created six colored mezzotints of anatomical subjects that made his reputation and remain highly regarded as amongst the finest examples ever produced. Three of those mezzotints are seen here. The initial print in the series, Muscularis mucosae of the intestine, from 1736, is a milestone, the first use of color printing in a medical or scientific book.

Of Ladmiral's colored mezzotint of the human intestine's lining, Albinus wrote:

"It happened that that excellent and industrious painter John Ladmiral came to me and offered his services for making pictures colored after life in a sort of short-hand kind of painting. To see what he could do in this line I have had a picture made which I have added to the dissertation…words fail me to express the incredible variety of twisting of these branches, as the artist had rendered it on the plate" (as  cited by Choulant and Streeter).

And, so, too, words failed Rep. Weiner to adequately express the incredible variety of twisting that ultimately had himself and his libido splayed-out and pinned-down as an anatomical specimen laid bare for public dissection in the media theater.

Recent news, however, suggests interesting possibilities. The Congressman is seeking professional help. His problem is generally considered to be intractable and unresponsive to treatment, so it appears that he is in the vanguard for a new modality, one that heralds a golden age in psychotherapy and the potential for a hit reality-TV show that, with an endless supply of qualified participants, promises to run forever: Rehab For Putzes, the Yiddish epithet appropriate whether used in its strict or casual sense.

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LADMIRAL, Jan and Frederik RUYSCH. Icon Durae Matris in concave Superfice visae, ex capite foetus humani… Leiden: Dirk Haak; Amsterdam: Jacob Graal and Hendrik de Leth, 1738. Quarto. Franklin, Color Printing pp. 41-42. Lanwehr, Color Plates 108. Lilly 101. Wellcome II, p. 428.

[LADMIRAL, Jan]. ALBINI, Bernardi Siegfried. Dissertatio de arteriis et venis intestinorum hominis. Leiden: Dirk Haak; Amsterdam: Jacob Graal and Hendrik de Leth, 1736. Quarto. Franklin, Color Printing pp. 41-42. Lanwehr, Color Plates 3. Lilly 101. Wellcome I, p. 26.

LADMIRAL, Jan. Effigies penis humani. Leiden: Cornelis Haak; Amsterdam: Jacob Graal and Hendrik de Leth, 1741. Quarto. Franklin, Color Printing pp. 41-42. Lanwehr, Color Plates 109. Lilly 101. Wellcome II, p. 428.

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Mezzotint images courtesy of Asher Rare Books/Antiquariat Forum. Title pages courtesy of University of Iowa Digital Library. Our thanks to both.

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View Ladmiral's other three extraordinary anatomical mezzotints here.
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A Pop-Up Book of "Exquisite, Sentimental Beauty"

by Stephen J. Gertz

The Land of Long Ago (1898).

It's rare when  a 113 year old pop-up book in pristine condition lands my desk. It's even rarer when a 113 year old pop-up book in pristine condition lands on my desk, jumps into my lap, and opens to reveal  eye-popping pop-up tableaus that dazzle with the quality of their color printing, and warm with their lovely vintage charm.

Beauty and the Beast.

I am beholding what is regarded as among the most beautiful achievements of the genre, an Ernest Nister production.

 

Mister Nister was a printer and publisher based in Nuremberg, Germany. He established a London office in 1888 under the direction of the writer Robert Ellice Mack and, specializing in children's literature, soon issued pop-up, movable, transformation, and panorama books, as well as standard children's fare, operating until c. 1917.

The Old Woman Who Lived in a Shoe.

"Though primarily involved with his successful color-printing business, publisher and printer Ernest Nister (1842-1909) specialized in colored toy and movable picture books. Operating in both Nuremberg and London in the 1890s, this entrepreneur developed a distinctive style firmly lodged within nineteenth-century aesthetics.

"However, Nister's images outshine those of his contemporaries by epitomizing an exquisite, sentimental beauty. His artistic vision guides all the works regardless of pop-up mechanics and even of illustrator. In fact, we are uncertain to what extent Nister contributed his own illustrations to these books. In many cases, he imposed his own monogram on images in his imprint, dropping the artist's signature in the course of the production process."

Puss In Boots.

 

Detail: Note the finely granulated texture to the print, the hallmark of lithography.

"Nister used a wide range of movable techniques to intrigue children. The popular late nineteenth-century blind format of Changing Pictures, for example, capitalizes on a child's fascination with peek-a-boo. We are surprised to find Jack climbing the beanstalk behind Little Bo-Peep. Nister also animates his pages with simple slats, dimensional scenes, and remarkable pinwheel mechanics. With these basic paper tools, he creates fantastic transformations.

Sleeping Beauty.

"The 'long ago' of [The Land of Long Ago] speaks to a 'never never' land of fairy tales. The casting of such stories into a remote historical past cuts them loose from any connection to reality" (University of Virginia, Pop Goes the Page: Movable and Mechanical Books from the Brenda Forman Collection).

Little Red Riding Hood.

The pop-up plates were printed via chromolithography, a multi-color printing process originally developed in Germany in the nineteenth century that used heavy oil-based inks, devoted one stone for each color, and layered the colors to achieve a rich, textured effect that is easily confused with an actual oil painting, unless you look very closely and observe the finely granulated imprint of the stone's surface upon the paper.

 

Some objected to chromolithography because it could reproduce a painting so well as to be deceptive. But artists were pleased; the process was the finest for reproducing their original color images as accurately as possible.

Cinderella.

 

Little is known about the artist, E[velyn] Stuart Hardy (b. 1870). She was the sister of illustrator Paul Hardy, a writer and illustrator of children's books in color and black and white, military subjects in black and white, and various editions of English classics, including Jane Eyre.

 

The books of Ernest Nister were extremely popular in America, published, heavily promoted, and sold by E.P. Dutton. Edward Dutton kept a close eye on publishing trends in Europe and, recognizing their profit potential, contracted with Nister to exclusively distribute and sell his books in the United States.

High production values and comely imagery withstanding, what remains most impressive about this copy is that it was never, apparently,  enjoyed by the child it was originally designed for; an untouched copy sitting under someone's bed or in their closet for over a century. Movables of this vintage are generally found in various stages of destruction; the books were routinely played with by kids until they ended life as confetti  (the books, not the children).

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[POP-UP BOOK]. WEEDON, L.L. HARDY, E. Stuart (illustr.). The Land of Long Ago. A Visit to Fairyland with Humpty Dumpty. With Pen-and-Ink Illustrations by E. Stuart Hardy. London - New York: Ernest Nister - E.P. Dutton, n.d. [1898].

First edition. Oblong quarto. Six chromolithographed pop-up plates. Black and white text illustrations throughout.

Quarter red cloth over full color pictorial boards.

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Images courtesy of David Brass Rare Books, with our thanks.
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Of related interest:

Waldo Hunt and Pop-Up Books: A Brief Overview.

Movable Books Pop-Up at the Smithsonian.
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