The Illustrated Alice in Wonderland (The Golden Age of Illustration Series)

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At the beginning of the story, Alice muses about the importance of illustrations in capturing a reader’s attention and imagination. Unusual for British children’s literature during the Victorian era, Carroll’s tale is neither moralistic nor instructional. Alice’s Adventures in Wonderland and Through the Looking-Glass were part of a burgeoning literary genre which aimed to capture a child’s imagination, often through the use of illustrations. The result is a timeless tale, recognized across the world for its artistry and wordplay. Stern, Jeffrey. “Lewis Carroll the Pre-Raphaelite”. Lewis Carroll Observed, by Edward Guiliano, Clarkson N. Potter, 1976. In 1959, three years before the publication of her gorgeous illustrations for The Hobbit and nearly two decades after her iconic Moomin characters were born, celebrated Swedish-speaking Finnish artist Tove Jansson was commissioned to illustrate a now-rare Swedish edition of Alice’s Adventures in Wonderland ( public library), crafting a sublime fantasy experience that fuses Carroll’s Wonderland with Jansson’s Moomin Valley. The publisher, Åke Runnquist, thought Jansson would be a perfect fit for the project, as she had previously illustrated a Swedish translation of Carroll’s The Hunting of the Snark— the 1874 book in which the word “snark” actually originated— at Runnquist’s own request. John R. Neill (illustrator of Baum's Oz books), Alice, Reilly and Lee (The Children's Red Books), 1908 In the original manuscript of the book, Carroll drew his own illustrations. Carroll’s drawings of Alice were not modelled after Alice Liddell either.

Angel Dominguez, Looking-Glass published by Inky Parrot Press, 2015, limited to 180 standard and 82 special copies Millicent Sowerby, published by Hodder & Stoughton in 1913 – a new set of illustrations, not a reprint of her 1907 work Hugo von Hofsten, Alice, published by Barse & Hopkins, no date (dated by inscription, 1915). 6 color plates after Tenniel. Several later editions have fewer plates. There is an edition, smaller format with different boards, by Brewer, Barse (Chicago), which is dated by inscription, in one copy, as 1910, so Brewer, Barse may be the first published edition.a b Berman, Judy (15 October 2020). "Alice's Adventures in Wonderland by Lewis Carroll". Time. Archived from the original on 14 May 2021 . Retrieved 8 May 2021.

In 2015, Inky Parrot Press published a limited edition of Alice with a different artist for each chapter. [4] Alice's Adventures in Wonderland (commonly Alice in Wonderland) is an 1865 English children's novel by Lewis Carroll, a mathematics don at Oxford University. It details the story of a young girl named Alice who falls through a rabbit hole into a fantasy world of anthropomorphic creatures. It is seen as an example of the literary nonsense genre. The artist John Tenniel provided 42 wood-engraved illustrations for the book. Reid, Forrest. Illustrators of the Eighteen Sixties: An Illustrated Survey of the Work of 58 British Artists (1928). New York: Dover Publications, 1975. Donald Glue, Alice and Looking Glass, Colorgravure Publications, Melbourne, Australia, no date (1949?).

About Sir John Tenniel

Pat Andrea, published by Editions Diane de Selliers in 2006 (bilingual French and English edition of both Alice and Looking-Glass) Godard, Colette (23 December 1992). "Lointaine Alice". Le Monde (in French). p.15. ProQuest 2554286418. Sheehy, Helen (1996). Eva Le Gallienne: A Biography. Alfred A. Knopf. ISBN 0-679-41117-8. OCLC 34410008. The illustration of the hookah-smoking Caterpillar raises another limitation of Carroll’s artistry for an audience that valued naturalism. Carroll could not render his animal creatures with anatomical precision. Carroll’s White Rabbit does not look like a rabbit one would find in nature, and his clothes are not the smart attire a Victorian gentleman would wear. The White Rabbit’s face and whiskers resemble a mouse’s, and his ears are akin to a donkey’s. Beatrix Potter, a skilled late nineteenth-century naturalist artist and illustrator, uses clothing judiciously, never covering an animal character’s defining characteristics; in contrast, Carroll dresses his character in a full suit that covers many of the White Rabbit’s essential rabbit features — his haunches, bottom paws, and fluffy tail. The result is a character who looks like a man wearing an enlarged donkey/mouse/rabbit head mask, not a comical hybrid creature who is part rabbit and part Victorian gentleman. Carroll’s Caterpillar does not look like a caterpillar either. The creature has a human hand and a human face. His torso coils in a snake-like manner, and the character crosses his “legs,” which are decidedly human. The imperious expression of the Caterpillar does capture the creature’s haughty manner, however. The same confusion creeps into fantastical and mythological animals. For example, Carroll’s Gryphon maintains the notion of hybridity but seems to blend the features of a bird and a rat or mouse instead of a lion and an eagle, as classic iconography demands. Carpenter, Humphrey (1985). Secret Gardens: The Golden Age of Children's Literature. Houghton Mifflin. ISBN 978-0-395-35293-9.

All in the golden afternoon..."—the prefatory verse to the book, an original poem by Carroll that recalls the rowing expedition on which he first told the story of Alice's adventures underground Boe Birns, Margaret (1984). "Solving the Mad Hatter's Riddle". The Massachusetts Review. 25 (3): 457–468 (462). JSTOR 25089579.

Tenniel’s Final Years

Demakos, Matthew. “Sketch-Trace-Draw. From Tenniel’s Hands to Carroll’s Eyes, Part 1”. Knight Letter, volume III, issue 4, no. 104, spring 2020. John Bradley, folio size illustrations of Alice as re-told by David Blair in "a young reader's edition", Courage Books imprint of Running Press, 1992

Alice's Adventures in Wonderland [exhibition item]". University of Maryland Libraries. Archived from the original on 24 November 2021 . Retrieved 13 January 2023. While Sewell appears to have done several illustrations, I’d like to focus on his illustrations for 1975 Alitjinya ngura Tjukurtjarangka / Alitji in the Dreamtime translated by Nancy Sheppard into Pitjantjatjara. It’s called Aboriginal Alice but the illustrations are quite unique. University of Maryland notes: “Byron’s illustrations are brilliantly modeled on the mystical bark painting of the indigenous peoples of the Northern territory.” The white rabbit has become a kangaroo with a watch inside his belly. Jan Švankmajer In the cover image, the White Rabbit’s waistcoat is replaced with a green scarf and the March Hare is also dressed differently. Basbanes, Nicholas (1999). A Gentle Madness: Bibliophiles, Bibliomanes, and the Eternal Passion for Books. Macmillan. pp. 210–211. ISBN 978-0-8050-6176-5. Straley, Jessica (2016). "Generic variability: Lewis Carroll, scientific nonsense, and literary parody". Evolution and Imagination in Victorian Children's Literature. Cambridge University Press. pp.86–117. doi: 10.1017/cbo9781316422700.004. ISBN 978-1-316-42270-0.

Illustrations for ‘Alice’s Adventures Under Ground’

Shafer, Yvonne (1995). American Women Playwrights, 1900–1950. Peter Lang. p. 242. ISBN 0-8204-2142-1. OCLC 31754191. Folio publishes Alice's Adventures Under Ground facsimile edition (limited to 3,750 copies, boxed with The Original Alice pamphlet). Alice in Wonderland 150th anniversary: 8 very different film versions". British Film Institute. Archived from the original on 31 December 2022 . Retrieved 10 May 2023.