Showing posts with label Fairy Tales. Show all posts
Showing posts with label Fairy Tales. Show all posts

Tuesday, June 19, 2012

18th C. Book Has A Story Without Head Or Tail, Wit or Humor

By Stephen J. Gertz


What maketh thee of this, dear Reader, a trifling little Booke of Great Raritee but who careth? A nonsense Fairy-Tale satire, with the aim of "his Royal Lowness," Prince Toadstool, to win the Rose that rests betwixt Princess Tricolora's lower limbs. Yea verilee, it is a forgotten little bagatelle, of its details Don't ask, Don't tell, a witless wonder wittily told, with whacked-out philippic at end the story sold: Of Vice and Virtue, Mice and Men, and ugly Toadstool with brain a-mold.

Allow, I prithee, the Table of Contents to present this facetious fiction:

Chapter I: Which Promises More Than It Performs.
Chapter II: A New Form of Interviews.
Chapter III: Unexpected.
Chapter IV: In Which There Is Not Much.
Chapter V: In Which the Prince Does Not Know What To Think.
Chapter VI: So Much the Better.
Chapter VII: Worse and Worse. Is That Possible?
Chapter VIII: The Inspector-General in a Terrible Undertaking.
Chapter IX: There Never Was a More Foolish One.
Chapter X: Try To Break an Enchantment.
Chapter XI: More Nonsense; Which Will Surprize Nobody After What Has Gone Before.
Chapter XII: A Touch of the Pathetic.
Chapter XIII: A Leading One.
Chapter XIV: Beware the Colic!
Chapter XV: A Remedy For Gripes.
Chapter XVI: Pretty Pictures!
Chapter XVII: The Best Being the Last.

And now, our story unfolds:
Chapter I

"The Prince Toadstool answered the idea of his name; the Prince Discreet was a charming fellow; the Princess Tricolora was more fair, more shining than a fine day in spring: she detested Toadstool, adored Discreet, and was forced to marry Toadstool. So much the better.

"There is no art in this manner of telling a story. The unravelment is given at the same time as the exposition: but no-one is the more for that in the secret of that fame, so much the better; and this is what I am about to unfold, with all the pomp becoming the gravity of the subject.

"ToadstooI though infernally ugly and a fool, was not for all that lawfully begot. His mother was so execrable that no man had had the courage to take her for better or worse but her money supplied the place of charms: she bought her gallants, and had just arithmetic enough to pay them according to the number of their jobs. Toadstool was the fruit of one of her laborers at that hard work.

"He had a monstrously great head, and nothing in it: his legs were as short as his ideas, so that whether thinking or walking, he always lagged behind. But as he had heard that men of wit, though they do not say foolish things, often do them, he took it into his head to be a man of wit upon the plan of doing a foolish thing, and resolved to marry.

"His lady, mother of the fairy Burning-Sprite, mused a good while about what family she should prefer for this plague..."

Alloweth thy imagination to cut to the chase; voila! a furious finish:

Chapter XVII
[The Final Musings of a Harangue-Utan in a Lather]

"...The so ridiculously called Great have shewn themselves so miserably ignorant, that they seem to have taken it for an admirable improvement arid distinction to invert the order of things, by kicking Nature out of doors, and delivering themselves wholly up to the false refinements of Art which was never designed by Taste for any thing but Nature's very humble servant. Thus sentiment stands banished by them from Love, from everything. 

"But what has this senseless depravity produced? View the actual face of things, and deny it if you can; a destruction to the very foundations, of honor, worth, wit, taste, after which it will be but in course to add, of true pleasure; a chaos of infernal stupidity; a mass of rottenness, which must turn all concern or respect for themselves into such a joke, as must justly and necessarily fink them below the lowest and the vilest of the mob.

"It matters not then as to them whether this tale is purely the work of imagination or not. But it is plain that the author had in view the dressing up Vice in a fool's coat, a way of treating it, towards extirpation, not perhaps less effectual than those austerer preachments, which may be styled the dry-shaving of sheer morality: morality which always does Vice infinitely too much honor, and much less harm than it is aware of, in painting it as an object rather of terror than of scorn and ridicule.

"As to any ludicrous situations in the story, which may have required too strong or too gay a coloring, the author would not, I presume, pay his reader so wretched a compliment as to offer an apology. Nothing. surely but the meanest and most contemptible of all understandings, with the most naturally vicious of all inclinations, could dread or asset to dread the corruption of morals, or any danger from Vice in so grotesque a habit.

"Virtue, nobly secured in a just superiority of taste, feels nothing but what must rather confirm than alarm her for herself, in that monitor, whether presented in the loathsome nakedness of rank obscenity, or less disgustfully and consequently more dangerously wrapped up: in which last form indeed, though it may serve even for a salutary medicine to the never more than a few people of sense; yet as it may also prove a poison to those classes too numerous not to be respected and even tenderly guarded, the young, the unexperienced, the ignorant, the weak and the foolish; any want of having considered enough the consequences to them must render it justly execrable to none more than to whoever may have been unfortunate enough to lay the fumbling block or give the offense.

"In the present however ready-cut-and-dry piece borrowed, as being the first at hand for the purpose, Nonsense never but a volunteer against itself, is pressed into the service of its capital enemy judgment; and may it happily for once, and contrary to its nature, have a little of that power to produce a good effect, of which it has had flagrantly so much to produce the worst!

"If then in this decoy, formed as it is with the most innocent intention on the trite maxim, that "Extremes "touch," any reader should find himself, by what carries the air of the lowest levity, betrayed unawares into a serious train of thinking; if that thinking produces even indignation at any one's amusing himself no better than with reading such damned filth; or what is worse yet, with writing it, in what times  than which never any could more loudly proclaim the [?] of exploding the abandoned futility that so strongly marks them, and of restoring that once so justly admired solidity of the British Genius, which has seen itself so infamously supplanted by dullness, by folly, false wit, false taste, false interests, false politics, and what is there not false among us?

"I say, if I could catch any reader daring to think in this manner ...... 'What  then?' I  would, say -- 'So much the better for him.'"

Within that jeremiad lies the theme, licentious fluff bereft of wit a threat to British lit. supreme; so quoth the raven, "Mama mia!" as if in a bad dream. So much the worst, an 18th century  culture warrior hocks a loogie to the cursed - those who shun Fox News and thus remain unversed.
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[Anonymous]. Did you ever see such damned stuff? Or, so-much-the-better: a story without head of tail, wit or humor. Rantum jantum is the Word, and Nonsense shall ensue. London: C.G. Seyffert, 1760. First (only) edition. Small octavo. vii, 168 pp.
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Wednesday, February 8, 2012

When Charles Dickens Met Hans Christian Andersen: The Nightmare Visit

by Stephen J. Gertz


In June 1847, Hans Christian Andersen, who had won acclaim throughout Europe and America for his childrens stories, visited England for the first time. The great Dane earned triumphal social success during his summer in  London as the guest of  Countess Blessington, who attracted the cream of Europe's intelligentsia to her soirees. It was at one such gathering that Andersen was introduced to Charles Dickens, whom he greatly admired.

On July 30, 1847 Dickens, who reciprocated Andersen's admiration, paid a call on him at his lodgings. Andersen, however, was not present and so Dickens left the small parcel containing twelve presentation copies of his books as gifts accompanied with a note.

Of those twelve presentation copies, four were bequeathed to the Royal Library, Copenhagen, and seven were later sent to auction. Of those seven auctioned copies, only five have been accounted for: at Dickens' House, London; the Free Library in Philadelphia; a copy ultimately presented in 1956 to the Andersen Museum, Odense; the Webster Currie copy; and that at Sotheby's sale LN8412, lot 111. Only nine of the twelve copies are thus recorded. A few years ago I handled one of those three "lost" copies, a second edition of Pictures From Italy (1846).

"On his first visit to England in 1847, Hans Christian Andersen was overjoyed to make the acquaintance of 'the greatest writer of our time,' Charles Dickens. During the ten years following his return to Denmark, a friendly correspondence developed and culminated in his returning to England to spend five weeks as Dickens' guest at Gadshill. The visit was a failure and Dickens soon afterward broke off the correspondence" (Ford. George H. (Review of) Hans Andersen and Charles Dickens by Elias Bredsdorff. Nineteenth-Century Fiction, Vol 12, No. 2 [Sept. 1957], p. 166).

Of Anderson's visit Dickens wrote, "…whenever he got to London, he got into wild entanglements of Cabs and Sherry, and never seemed to get out of them again until he came back here, and cut out paper into all sorts of patterns, and gathered the strangest little nosegays in the woods. His unintelligible vocabulary was marvelous" (Dickens, letter to William Jerdan, July 21, 1857).

The Danish Man Who Came To Dinner was supposed to stay with Dickens and his family for only two weeks. Though a genial host, Dickens dropped hints for Andersen to end his stay; they were, apparently, too subtle. The patience of the Dickens children was strained to the limit and daughter Kate would later recall that Andersen "was a bony bore, and stayed on and on" (Storey, Gladys. Dickens and Daughter. London, 1939). Andersen thoroughly enjoyed his visit, oblivious to the effect his extended holiday was having on his hosts. After he finally left, Dickens wrote on the mirror in the guestroom: “Hans Andersen slept in this room for five weeks — which seemed to the family AGES!” Clueless, Andersen never quite understood why Dickens afterward ceased to answer his letters.

Though the story may be apocryphal, it is said that "the bony bore" provided Dickens with the physical model for the obsequious Uriah Heep, the sharply limned character in David Copperfield, with, perhaps, a few of Andersen's personality traits added to the "very 'umble man."

The comic quality of Andersen's social awkwardness and  ineptitude provide the underlying significance of his work and the reason why his stories have endured and will remain classics. His earliest examples (Thumbelina, The Emperor's New Clothes, etc.), like those of the Brothers Grimm and Charles Perrault, though quite successful and bringing him fame, were interpretations of regional folk tales. His major contribution to world literature was to come with his second collection of stories, Nye Eventyre (New Fairly Tales) which were wholly original creations. In these stories, which include The Ugly Duckling, The Nightingale, The Red Shoes, The Snow Queen, The Little Match Girl, etc., the protagonists begin as sad, awkward, lonely characters adrift in a strange, often cruel world for which they are ill-equipped but, who, by story's end have overcome their circumstances and become misfit heroes, their hopes and yearnings fulfilled. Andersen had identified a universal archetype and it was him. Even more to the point, he was amongst the first writers who might be considered modern insofar as using the arc his personal life and psychological history as the basis for his characters.

It's interesting that Dickens, whose circumstances in childhood shaped his fiction, and Andersen, whose childhood informed his writing, were, at arm's length completely simpatico, but when drawn into close quarters for any length of time drove, at least Charles Dickens, nuts. Dickens, I imagine, preferred that his characters remain on the page and not come to actual life and wear out their welcome by showing up on his doorstep for an  interminable - and unendurable - stay, ala Sheridan Whiteside, who came to dinner and never left but at least was entertaining while terrorizing his hosts, "And now, will you all now leave quietly, or must I ask Miss Cutler to pass among you with a baseball bat?," a sentiment I suspect Dickens may have had success with had he directly expressed it to Andersen.

See: Dal, Eric, Nogle flere boger fra H.C. Andersen boghylde, in Andersenania 1992. Letters of Charles Dickens, Volume 8. Sotheby's Sale LN8412, Lot 111.
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DICKENS, Charles. Pictures From Italy. The Vignette Illustrations on Wood, by Samuel Palmer. London: Published for the Author, by Bradbury & Evans, 1846. Second edition. Presentation Copy, inscribed by Dickens on the half-title in ink: "Hans Christian Anderson / From His friend and admirer / Charles Dickens / London Jul. 1847." Octavo. [8], 269, [1], [2, ads] pp.

Nineteenth-century full red crushed levant morocco  by F. Bedford (stamp-signed in gilt on front turn-in). Covers with gilt triple fillet border, spine decoratively tooled and lettered in gilt in compartments, board edges ruled in gilt, turn-ins decoratively tooled in gilt, top edge gilt, others uncut.  Housed in a full dark green morocco pull-off box.

Cf. Smith II, 7. Cf. Eckel p. 126-127.
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Images courtesy of David Brass Rare Books, with our thanks.

Tuesday, December 13, 2011

When Goldilocks Had Silver Hair and Trod the British Stage

by Stephen J. Gertz

From: COOPER, [T. George]. The Story of the Three Bears,
of Little Silver Hair and the Fairies,

as performed at the Haymarket Theatre in 1854.


In 1854, Goldilocks, that fickle food taster, chair sitter, bed sleeper, and precocious felon of the breaking and entering ilk, brought her act to London's Haymarket Theatre for a special Easter performance.

But you would not have recognized her. She had silver hair.

Who knew that the story of the girl with the golden tresses who home invades and chow-down fresses had been adapted to the stage? And what was a fairy queen doing in the production?

In this dramatization of the classic childrens story, the heroine is called Silverhair, she runs away from her mother to escape a wooing squire, and winds up at the house of the three bears, who are not happy with the picky, picky, picky child for eating their porridge, sitting in their chairs, and sleeping in their bed. Silverhair is rescued from their wrath by the fairy queen. 

While the story has been around for approximately 200 years, the earliest recorded version is The Story of The Three Bears metrically related, with illustrations placing and dating  it to Cecil Lodge in September 1831. One  Eleanor Mure had written the story in verse and illustrated it for her nephew from the story she  knew through oral tradition. In Mure's version  it is an old woman  who intrudes into the bears' home, sampling their food, etc. (Opie, Iona and Peter. The Classic Fairy Tales. New York: Oxford University Press, 1974, pp. 199-200).

In 1837, Robert Southey published the story in volume four of his seven volume collection of essays, The Doctor &C (London: Longman, Rees, Orme, Green, and Longman, 1834-38), under the title The Story of the Three Bears. Here, too, the intruder was an old woman. Another early version is known as Scrapfoot, and a fox is the moocher in the bear's house.

In 1850, however, the fox and old woman were jettisoned when the story was published in the anthology, A Treasury of Pleasure Books for Young Children (London: Grant and Griffith, & Joseph Cundall). The protagonist was now a young girl named Silver Hair, and it is in this iteration that the story was adapted for the Haymarket Theatre's 1854 Easter production. In 1855 she became Silver-Locks in Aunt Mavor's Nursery Tales (London: George Routledge & Co.). In 1868, she became Golden Hair in Aunt Friendly's Nursery Book (London: Frederick Warne), and somewhere a scholar is probably investigating whether the blonds have more fun trope is somehow connected to Golden Hair; only her  hairdresser knows for sure. In 1904's The Old Nursery Stories and Rhymes (London: Blackie & Son), Goldilocks made her debut.

The old woman was too hot. The fox was too cold. Silver Hair was too  soft. Golden Hair was too hard. Goldilocks was just right. The name stuck.
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COOPER, [T. George]. The Story of the Three Bears, of Little Silver Hair and the Fairies, as performed at the Haymarket Theatre as an Easter piece in 1854. Quarto. Twenty ink drawings by T. George Cooper with quotations from the script and the musical score. Two drawings full-page, the remainder two to a page, drawn directly into a contemporary, gilt morocco Victorian album.
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Image courtesy of Bloomsbury Auctions, offering this item as lot 462 in its Books, Manuscripts, Maps, and Works on Paper sale, December 15, 2011, with our thanks. It is estimated to sell for £400-£600 ($627-$940).
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Tuesday, November 15, 2011

When Irish Elves Are Smiling

by Stephen J. Gertz

They offered a cow for each leg of her cow, but she would not accept that offer.

 When Irish elves are smiling
‘Tis an Arthur Rackham Spring
With the lilt of Irish fairies
You can hear the goblins Sing

The waves of all the worlds seemed to whirl
past them in one huge green cataract.

"Arthur Rackham's two great books of the 'Twenties were James Stephens' Irish Fairy Tales of 1920 and Shakespeare's Tempest of 1926...Beyond the softness of style and inventiveness, the most striking thing about the colour plates for Irish Fairy Tales is the felicitous and appropriate use of Celtic borders" (Gettings, Arthur Rackham, p. 143).

They stood outside, filled with savagery and terror.

The reviews for both author and artist were uniformly glowing, i.e.:

"Children may enjoy it, but like Arthur Rackham's exquisite illustrations, it will be fully appreciated only by more sophisticated readers" (The Review, Vol. 3, 1920).

"James Stephens' writing has the gift of everlasting youth. Arthur Rackham's drawing have inherent magic. Wherefore the two are fortunately met in a new book, primarily for children, but also full of appeal to grown-ups with a sense of humor" (The Independent, December 25, 1920).

She looked with angry woe at the straining and snarling horde below.

Dublin-born poet and novelist James Stephens (1882-1950) was a member of the Irish Literary Revival and co-founder of the Irish Review best known for The Crock of Gold (1912). He campaigned for a free Irish state. He wrote many retellings of Irish myths and fairy tales, The Crock of Gold amongst them. His interpretations are noteworthy for their humor and lyricism.

My life became a ceaseless scurry and wound and
escape, a burden and anguish of watchfulness.

Irish Fairy Tales is a retelling of ten Irish folktales set in a wooded, Medieval Ireland filled with larger-than-life hunters, warriors, kings, and fairies. Many stories concern the Fianna and their captain, Fionn mac Uail, from the Fenian Cycle of Irish mythology.


This copy is in a contemporary binding in full forest green crushed morocco (possibly by Stikeman & Co.) with triple fillets and tooled borders surrounding an inner panel with corner and side devices, broad gilt dentelles, and top edge gilt.
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[RACKHAM, Arthur, illustrator]. STEPHENS, James. Irish Fairy Tales. London: Macmillan & Co., Ltd, 1920. First trade edition. Quarto (8 1/4 x 6 3/8 in; 210 x 160 mm). x, 318 pp. Sixteen full color plates with captioned tissue guards, twenty-one drawings in black and white.

Lattimore and Haskell, p. 52. Riall, p. 138.
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Read the full text of James Stephens Irish Fairy Tales here.
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Images courtesy of David Brass Rare Books, currently offering this title, with our thanks.
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Stephen J. Gertz is a contributor to The Journal of the Arthur Rackham Society.
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Of related interest:

Arthur Rackham Drawing Found in Unrecorded Louis Wain Book.

The Riddle of Arthur Rackham's "Faithful Friends" Solved?

Peter Pan: Still a Boy at 150.
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Tuesday, August 2, 2011

Warwick Goble's Fairy Book in a Binding to Behold

by Stephen J. Gertz

Custom binding by Robert Porter, c. 1990,
for The Fairy Book, 1913.
"To many the best of all fairy books is 'The Fairy Book' by the author of 'John Halifax, Gentleman.' We are glad to see the Macmillans have brought out this collection in a handsome edition...The illustrations in color, by Warwick Goble, are as pretty and dainty things of the kind that we have ever seen" (The Nation, December 11, 1913).

"A young girl of wonderful beauty lay asleep on an embroidered bed."
(The Sleeping Beauty in the Wood).

Warwick Goble (1862-1943) was educated at the Westminster School of Art and, early on, worked as a assistant to a printer who specialized in chromolithography. During the early 1890s he contributed illustrations to British magazines, and in 1896 began to illustrate books. In 1909 he become one of Macmillan's resident artists.

"When the lady came she gave the handkerchief to the magician."
(Jack the Giant Killer).

He "was one of the busiest and most versatile British illustrators of the Golden Age, at home with any subject that came his way, from a battle scene to a tea party. He gradually developed into a notable specialist of Japanese and Indian subjects, with a distinctive style recalling both Edmund Dulac and René Bull

"And she climbed up and easily broke off a branch, with its silver
leaves and golden fruit, and handed it to the knight."
(One Little Eye).

"...Goble moved into the big time in 1909 when he became the resident gift book illustrator for the large publishing firm of Macmillan. The first of his classic de luxe volumes in the Macmillan series was The Water Babies, by Charles Kingsley (1912)…His second de luxe volume was the equally stunning Green Willow, and Other Japanese Fairy Tales (1912) by Grace James. In these 40 colour illustrations, Goble was allowed free rein with his first love, proving that he was second to none in his portrayal of Oriental subjects” (Richard Dalby, The Golden Age of Children’s Book Illustration, pp. 92-93).

"At last she remembered her dream, rushed to the grass-plot,
and there saw him lying apparently dead."
(Beauty and the Beast).

“Two influences on Goble’s work were his initial training as a printer specialising in chromolithography and his extensive travels through the Orient. He favoured soft, flowing watercolours with an oriental flavour which suited the atmosphere of the fairy tales and mystical settings in which he specialised. His understanding of design and the reporduction of colour is evident in his work, for example in his series of colour plates for Stories from the Pentamerone by Giambattista Basile (1911). His watercolours were also published in Gift Books and exhibited at the Royal Academy” (The Cambridge Guide to Children’s Books in English).

"'Is it very far from hence?' asked the wolf."
(Little Red Riding Hood).

The collected fairy tales in The Fairy Book are, Sleeping Beauty; Beauty and the Beast; Jack the Giant Killer; Little One eye, Little Two eyes, and Little Three Eyes; Hop-o'-My-Thumb; Cinderella; Rumpelstizchen; Fortunatus; Riquet with a Tuft; Snow-White and Rose-Red; Jack and the Beanstalk; Graclosa and Percinet; The Invisible Prince; The Woodcutter's Daughter; Brother and Sister; The Fair One with Golden Locks; The Butterfly; The Frog Prince; Prince Cherry; Little Snowdrop; The Blue Bird; The Six Swans; The Hind of the Forest; and The Juniper Tree.

"By the care of the fairy tulip, she was not wounded."
(The Hind of the Forest).

"Mr Warwick Goble's pictures are thoroughly typical of the high standard reached in the best colour illustration of to-day, and we are sure this volume will find favour with the best critics of books such as these, namely, the children who receive them as presents" (The International Studio, Vol. 51, 1914):

Original cloth binding, The Fairy Book, 1913.
 
Dinah Maria Craik (1826-1887), was a respected English novelist and author of childrens books. She compiled and adapted these English, French and German fairy tales and published them in the first  and non-illustrated edition of The Fairy Book in 1863, also issued by Macmillan; her husband, George, was Alexander Macmillan's partner in the firm.

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[GOBLE, Warwick, illust.]. [CRAIK, Dinah Maria, text]. The Fairy Book. The Best Popular Fairy Stories Selected and Rendered Anew. By the author of 'John Halifax, Gentleman'.  With 32 illustrations in colour by Warwick Goble. London: Macmillan and Co., 1913.

First Goble-illustrated edition. Tall octavo (9 3/4 x 6 7/8 in; 248 xz 174 mm). xiii, [1], 378, [1], [1, blank] pp. Thirty-two full-color plates with captioned tissue guards.

Specially bound c. 1990 by Robert Porter in full, polished blue, levant morocco with gilt rules emanating from a gilt sun and three belts of tiny gilt stars and geometric forms in loose orbit, the design reiterated on rear board and spine in blind. Cockerell endpapers. Original cloth preserved at rear. Top edge gilt.
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Images courtesy of David Brass Rare Books, with our thanks.
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Monday, May 23, 2011

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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