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Home , Andrew Lang, Jack the Giant Killer, Kay Nielsen

In Land An exhibition of books from the Rare Books Collection Introduction 6 March – 7 June 2013 Level 1, ISB Wing, Writing now at the start of 2013, the last year has seen a great deal of fairy tale activity. On the small Sir Louis Matheson Library, screen, the evil queen and Rumplestiltskin are wreaking havoc across Maine while a descendent of the Clayton campus, Monash University, Grimms is hunting monsters in Oregon; and on the big screen, Hollywood stars are lining up to play evil Wellington Road, Clayton queens, witch and slayers, huntsmen and princesses. Fairy tales are as popular as ever and tellers continue to find new avenues for expression. Curator: Stephen Herrin The recent screen profile of the fairy tale makes this exhibition so timely. Assistant Curator: Richard Overell For a long while, fairy tales have been strongly associated with an oral tradition. A remarkable number of Web Design: Rosemary Miller crones and peasant spinners were depicted as the storytellers. Yet the print tradition of the fairy tale is Thank you to Dr. Rebecca do Rozario, just as inventive. Lecturer, School of English, Giovanni Francesco Straparola published his The Facetious Nights (or Pleasant Nights) in the mid Communications and Performance sixteenth century. His collection includes tales of clever female cats and royal pigs. Giambattista Basile Studies for opening the exhibition. followed in the seventeenth century with The Tale of Tales, or Entertainment for Little Ones, but his tales weren’t for children. His hags told ribald tales of lusty kings, witty seamstresses, and young girls who For more images and information on murder their devilish stepmothers before dropping their overshoes for the king to find. each of the items visit: Fairy tales became the talk of the salons in Paris under Louis XIV. While the well-known monash.edu/library/collections/ wrote his mother goose tales of virtuous young girls and resourceful young men, his female peers cut a exhibitions lively swathe through the salons, writing tales about sword-wielding princesses, fantastical gowns covered in diamonds and other precious stones, wicked kings and powerful , some, like Henriette Julie de Murat’s Obligeantine, flying about in chariots made from a giant’s skull and painted glossy black. Their tales continued to be circulated in such collections as Le cabinet des fées, ou, Collection choisie des contes des fées, et autres contes merveilleux, in flimsy chapbooks and pantomime scripts. Even as the Grimms collected tales of princesses who throw frogs into walls and lost children who eat witches’ houses, and as Hans Christian Andersen wrote about lovesick tin soldiers and mermaids, fairy tales became the stuff of childhood. While this meant that much of the bawdy, disreputable material disappeared along with the extravagances of language and courtly manners, fairy tale gained a crew of remarkable illustrators. After the early black and white engravings and woodcuts, artists like , Richard Doyle and provided stunning portraits of beasts, princesses, witches and fairy godmothers. Their illustrations became more influential than the well-known words of the tales: courtly beasts in cravats, fairies aloft upon butterfly wings, wolves in pince-nez and bonnets. The tradition of illustration was led by fairy tale, even as tales from all over the world began to be discovered and committed to print. Andrew Lang’s extensive collection of coloured fairy books, from red to blue, from pink to green, and many more besides, brought together tales from all over the British Empire and beyond, while folklorists actively sought to capture oral traditions in lasting print. This inspired the work of such collectors as K. Langloh Parker who listened to tales from a local Indigenous tribe, recording them in Australian legendary tales. But Australia’s fairy tale tradition is driven by its artists, who like Ida Rentoul Outhwaite and O’Harris, filled the bush landscape with fairies in diaphanous gowns and anthropomorphised marsupials. These images remain part of Australia’s own, unique fairy tale heritage. This exhibition is a wonderful opportunity to see the fairy tale marvels that lie within the Monash Rare Books Collection and is a tribute to the efforts of its caretakers.

Dr. Rebecca do Rozario, School of English,Communications and Performance Studies Studies Bunce was editor of the Birmingham Post and Large upright case a patron of the arts. Most of the observations in 3. Banier, M. l’abbé (Antoine), this book came from an 1877 Christmas lecture 1. Doyle, Richard, 1824-1883. 1673-1741. series he gave at Birmingham and Midland In Fairyland : a series of pictures from the Explication historique des fables ... / Par M. Institute. It was more a popular account rather Elf-World / by Richard Doyle; with a poem l’Abbé B*** (Paris: Chez Francois Le Breton, than scholarly one. by William Allingham. 2nd ed. (London: 1711). Longmans, Green and Co., 1875). Banier was a popular scholar of and 7. Doyle, Arthur Conan, Sir, 1859-1930. This book has been hailed by critics as “one of fables as well as a translator of the classics. The coming of the fairies / Sir Arthur Conan the best books of the nineteenth century” for He argued that underpinning the stories were Doyle. [2nd ed.] (London: Psychic Press, its illustrations and production. It contains 16 actual historical events and people. [1928]). watercolour plates which represent the best of The Cottingley Fairies are a series of Doyle’s artistic work. Previously he had worked 4. Ker, John Bellenden, 1765?-1842. photographs taken in 1917 and 1920 showing as a cartoonist for the satirical journal Punch An essay on the archaiology of popular two girls interacting and posing with fairies. and carried out commission work for London English phrases and nursery rhymes / by The photos were given to Sir Arthur Conan publishers, some done under the pseudonym John Bellenden Ker, Esq. (Southampton: Doyle who used them as proof of the existence of Dick Kitcat. He notoriously missed deadlines Fletcher and Son; London: Black, Young, of fairies. Some 50 years later the girls, Elsie and eventually contracting publishers like the and Young, Tavistock Street, 1834). and Francis, admitted to faking the pictures by Dalziel Brothers stopped using him. In the 19th century interest in and study of folk tracing the fairies from a popular children’s book tales, fairy tales and nursery rhymes was grow- of the time, Princess Mary’s Gift Book (1915) ing. Writers like Perrault, and the Grimms had which is also in our collection. 2. Hansel and Gretel and other stories scholarly interests in folk tales and folk traditions / by the ; illustrated as well as their literary work. by Kay Nielsen (London: Hodder and Early Stoughton, [1925]). 5. Tolkien, J. R. R. (John Ronald Reuel), 8. Straparola, Giovanni Francesco, ca. Nielsen worked with 1892-1973. 1480-1557? Hodder and Stoughton Tree and leaf / J.R.R. Tolkien (Boston: on many children’s Houghton Mifflin, 1965). The nights of Straparola / now first translated books in the early 20th This book contains the essay “On Fairy-stories.” into English by W.G. Waters; illustrated by E.R. century. This book, Tolkien first presented it as the Andrew Lang Hughes (London: Lawrence and Bullen, 1894). and a lavish edition of Lecture in 1938. In it Tolkien explains what fairy Straparola was an Italian who was among the tales by Hans Christian tales meant to him and argues that such tales first in Europe to develop folk tales into liter- are not just for children. Andersen, are the ary fairy tales. The Nights was first published most acclaimed. in 1550-3 in Italian as Le piacevole notti. It 6. Bunce, John Thackray, 1828-1899. Other examples of contained 14 fairy tales, including Puss in Boots. Nielsen’s work are Fairy tales, their origin and meaning: with The book was an influence on Basile, Perrault, numbers 18 and 23. some account of dwellers in fairyland / by and the Grimm brothers. Often Straparola’s tales John Thackray Bunce (London: Macmillan, were darker and cruder than later adaptations. 1878).

1 9. Basile, Giambattista, ca. 1575-1632 Description: 41 v., plates : ill. ; (8vo) & (12mo) (Paris : J. Breauté, 1842). Signed by author. Stories from the Pentamerone This 41 volume collection of fairy tales was The frontispiece to the first edition of Perrault’s / by Giambattista Basile; compiled by the author / editor Le Chevalier tales, published in 1697, depicted a plaque selected and edited by E.F. Charles-Joseph de Mayer. The collection which read, “Contes de ma mère l’oye,” which Strange; illustrated by W. brought together 100 years of French stories translates as “Tales of Mother Goose.” Goble (London: Macmillan, that included the canon of Perrault, d’Aulnoy, 1911). and others. It is notable for the beautiful 14. Lang, Andrew, 1844-1912. First published as Lo cunto de engravings. The blue fairy book li cunti overo lo trattenemiento / edited by Andrew de peccerille = The Tale of 12. Fairy tales by Perrault ... [et al.] / Lang; with numerous Tales, or Entertainment for Lit- translated by J. R. Planché ; with ill. by illustrations by H.J. tle Ones (1634-6). Basile’s audience was more Godwin, Corbould, and Harvey (London Ford and G.P. Jacomb courtly. The book was the first literary collection : Routledge, Warne, and Routledge, Hood (London; New of fairy tales, and influenced Perrault and the 1864). York: Longmans, Grimms. Here are presented the earliest literary Charles Perrault was born into a wealthy family. Green, 1889). versions of , Sleeping Beauty, and Ra- He studied law and worked as a secretary in The Red fairy book punzel. They are more bawdy and more cruel. Louis XIV’s government. From this he acquired / edited by Andrew The first English translation appeared in 1847. a substantial pension which freed him from Lang; with numerous work after a couple decades and allowed him illustrations by H.J. Ford and Speed 10. Aulnoy (Marie-Catherine) Madame to follow his literary passions. He was a poet (London: Longmans, Green, 1890). d’, 1650 or 51-1705. and author who began writing fairy tales in the The Green fairy book / edited by Andrew 1690s. For these he reworked folk motifs into Les contes des fées ou Les fées a la mode Lang; with numerous illustrations by H.J. literary fairy tales, some of which are still with : contes choisis publiés en deux volumes / Ford (London; New York: Longmans, Green, us today. Included in his works were (as English avec une préface par M. de Lescure. Fron- 1892). tispices gravés par Lalauze (Paris : Librairie titles) Sleeping Beauty, , Lang’s colour fairy book series was immensely des bibliophiles, 1881). 2 vols. , Cinderella, , and Puss in Boots. popular and has been reprinted in various forms Madam d’Aulnoy was a prolific French author in up to the present day. It ran from 1890 to 1910 the late 17th century. She was best known for 13. Ulliac Trémadeure, Sophie, with a total of 12 volumes. The series created a her travel accounts and two collections of fairy 1794-1862. new reading public for tales. On display are the tales. Les Contes des Fees was first published first three books. in 1697-8. In the 17th-century salons, the tell- Contes de ma Mère ing of fairy tales was a popular entertainment. l’Oie : dédiés aux grands et aux petits 11. Le cabinet des fées, ou, Collection enfans / par Melle choisie des contes des fées, et autres S. Ulliac Trema- contes merveilleux (Amsterdam : et se deure; ornés de trouve à Paris, rue et Hotel Serpente, douze belles lithog- 1785-89). raphies par Charles Chandellier.

2 The illustrators 18. Andersen, H. C. (Hans Christian), producing blocks of other artists’ works but 1805-1875. created illustrations themselves as needed. Fairy tales / by Hans Andersen; illustrated Other famous works of the Dalziels were the 15. The fairy tales of the brothers by Kay Nielsen. (London: Hodder and 1871 edition of Dickens and an illustrated Grimm / illustrated by Arthur Rackham; Stoughton, [1924]) Pilgrims Progress. translated by Mrs. Edgar Lucas (Lon- don: Constable, 1909). Born in , Kay Nielsen (a man) studied 21. Craik, Dinah Maria Mulock, Arthur Rackham (1867-1939) is one of the most and worked in Paris, London, Copenhagen 1826-1887. and later California. As with Robinson and famous illustrators of fairy tales. His first work in The fairy book : the best others of his time, Beardsley was an influence. this genre was the Grimm stories in 1900 but popular fairy stories / Nielsen had a long association with Hodder & without colour. That success led to this edition selected and rendered Stoughton. The illustrations for this work were with colour illustrations tipped in. Numbers 25 anew by the author of completed a decade before publication. and 78 in this exhibition are other examples of ‘John Halifax, gentle- his work. man’; with illustrations 19. The fables of Aesop / illustrated by ... by Warwick Goble Edward J. Detmold (London; New 16. Andersen, H. C. (Hans (London: Macmillan York: Hodder and Stoughton, Christian), 1805-1875. and Co., 1913). [1910?]) La reine des neiges / traduction Warwick Goble (1862- de Etienne Avenard; illustrations Like the Robinsons, Edward Detmold 1953) was best known for his use de Hans Tegner (Paris: Librairie (1883-1957) and his brother Charles of Japanese and Indian themes in his children’s Felix Juven, [1908?]) were both accomplished book illustrators. Edward was known for book illustrations. From 1909 he worked for This is the story of the Snow Queen his treatment of plants and animals. Macmillan and Co. as its gift book illustrator. in French. Tegner (1853-1932) was a This item is another of the Hodder & Danish artist known for his illustra- Stoughton gift books. 22. Gilbert, Rosa M. (Rosa Mulholland), tions of Andersen stories. 1841-1921. 20. Dalziels’ illustrated Arabian nights Puck and Blossom: a fairy tale / by Rosa 17. Andersen, H. C. (Hans Christian), entertainments / the text revised and Mulholland; with six illustrations, in gold and 1805-1875. emendated throughout by H.W. Dul- colors (London: Marcus Ward, [1874?]). Hans Andersen’s fairy tales / with illustra- cken; with upwards of two hundred il- Illustrated by (1846-1901), a tions by W. Heath Robinson. ([Nottingham?]: lustrations by eminent artists; engraved talented and influential British illustrator known published by Hodder and Stoughton for by the Brothers Dalziel (London: Ward, best for her coloured wood engravings and Boots Pure Drug Co., [1930?]). Lock, and Tyler, [1878]). watercolours. This is a lavish edition of W. Heath Robinson’s Brothers Dalziel was a famous wood engraving (1872-1944) earlier work. William was the firm in England. Edward and George Dalziel be- youngest of three talented brothers, who had all gan the firm in 1839 and a third brother Thomas illustrated Andersen books. His style was similar joined them later. They were known more for to that of Aubrey Beardsley.

3 23. Grimm, Jacob, 1785-1863. Wall case 3 Flat case 1 Fleur-de-neige et d’autres coutes de Grimm / [Traduit par 26. La Fontaine, Jean de, 1621-1695. Grimm Charles Guyot]; Illustrations The fables of La Fontaine / translated into de Kay Nielsen. (Paris: Edi- 28. Grimm, Jacob, English verse by Walter Thornbury; with tions d’Art H. Piazza, 1929). 1785-1863. illustrations by Gustave Doré (London: Limited ed. of 400 copies. Grimm’s fairy tales (New Cassell Petter & Galpin, [1871]). York: Hurst and Co., c1896). Another fine book by Kay Doré (1832-1883) was best Nielsen. Here the same cover The Grimm brothers, Jacob known for his illustrations of illustration has been re-used as in her Hansel and Wilhelm, were scholars, historians, and Dante’s Inferno (1861). He and Gretel book, no. 2 in the exhibition. folklorists. In addition to the rendering of the fairy also illustrated a volume tales, Jacob was researching German language, of Perrault’s Contes de legal tradition and mythology. Wilhelm was Lavish editions Fées in a style of ‘magical essentially an editor. The fairy tales were first realism,’ which became a published as Kinder und Housemarchen in 1812 Wall case 1 classic for its depictions and went through many editions and revisions. of Tom Thumb, Sleeping In all there were about 200 tales. This late 19th- Beauty, Little Red Riding 24. The Arabian nights: tales from the century edition is representative of many of the Hood and Cinderella. Thousand and one nights / illustrated English versions. by E.J. Detmold (New York: Dodd, 29. Grimm, Jacob, 1785-1863. Mead, 1925). Wall case 4 Tales of the Arabian Nights were ideal stories Grimm’s Fairy Tales (New York: McLoughlin Brothers, [ca. 1920]). for illustrations because of the exotic locations 27. Quiller-Couch, Arthur Thomas, Sir, Another example of an illustrated collection of the and characters. This is the first American deluxe 1863-1944 edition, complete with box. Grimm fairy tales. Many of these gave no credit The sleeping beauty and other fairy tales: for the staff artists whose work made them ap- from the Old French / retold by Sir Arthur pealing books for the Christmas gift market. Wall case 2 Quiller-Couch; illustrated by Edmund Dulac (London: Hodder & Stoughton, [1910?]). 30. Grimm, Jacob, 1785-1863. 25. Little Brother & Little Sister, and Dulac (1882-1953) was a contemporary Stories from Grimm / text version by W.K. other tales / by the Brothers Grimm; il- of Rackham. They had similar styles Holmes; illustrations by Barbara C. lustrated by Arthur Rackham (Publisher: and were both in the Hodder & Freeman (London: Blackie and Son, London: Constable, 1917). Stoughton stable producing deluxe [195-?]). Arthur Rackham had a well editions of children’s books. Blackie and Son were renowned for ex- established reputation as one of pensive productions of children’s books the finest illustrators in England in the early part of the 20th century. By by 1917. His Little Brother and the 1950s the firm was offering many Little Sister is one of his most cheaper illustrated editions as is the famous publications. case here and in item no. 36.

4 31. Mystery, John. The name Hans Christian Anderson is known 36. Andersen, H. C. (Hans Christian), the world over. A Danish writer and poet who In blinky land with the brothers Grimm. 1805-1875. turned to children’s stories and is considered Cover title: John Mystery’s In blinky land Stories from Andersen, Grimm, and the the ‘father of the modern fairy tale’ because with Grimm (Sydney: Lonsdale & Bartho- he brought new elements to old folk tales. He Arabian Nights / illustrated by Helen Stratton lomew, [194-?]). localised the stories and introduced a personal (London, Glasgow: Blackie & Son, [1929]). element, dispensing with the traditional ‘Once John Mystery was a prolific Australian publisher Fairy tales have commonly been published in upon a time…’ narrative technique and moral and writer. Among his many and varied publica- compilation volumes. These almost always con- endings. His stories were very popular. From tions were volumes of fairy tales and folk lore their first appearance in 1835 in Danish, stories tained stories of Anderson, the Grimms, Per- marketed to Australians in a cheap format. were issued again and again in collections and rault and the Arabian Nights. Blackie produced as individual works. By the 1840s Andersen many children’s books in this format. 32. Red Riding Hood (London; Paris; was read in England as well as the continent. New York: Raphael Tuck & Sons, Routledge published a popular series of these 37. Andersen, H. C. (Hans Christian), c1895). Artistic Series no. 1467. stories as seen here and the next item. 1805-1875. A fine example of a die-cut book in the shape Andersen’s fairy tales / 34. Andersen, H. C. (Hans Christian), of Red Riding Hood. Raphael Tuck & Sons colored illustrations by John 1805-1875. produced many die-cut books and greeting R. Neill (New York: Cupples The ice maiden, and, The story of my life / cards, including The Fairy Tale Series of Dress- and Leon Co., [c1923]). by Hans Christian Andersen; translated by ing Dolls. The story of Red Riding H. W. Dulcken (London: George Routledge Because they were more Hood underwent many changes and Sons, 1869). expensive, illustrated compila- from early folk tales through Perrault tion volumes were often given and the Grimms. She went from First published in 1861, The Ice Maiden ap- to children at Christmas time seamstress apprentice who combats peared in English in 1863. The volume here is in the Routledge series. It is one of Andersen’s as a special treat. This copy bears an a werewolf and is forced to eat her darker tales where the main character, Rudy, inscription “To dear Ailie, with fond love, from grandmother’s flesh and blood to the is a boy who has lost his mother. He is saved Aunty May.” Grimms’ version where a woodsman by the possessive Ice Maiden. She finally wins is introduced to save the day. him over and they are to be married, but Rudy 38. Meynell, Esther. drowns the night before the wedding. The story of Hans Andersen / by E. Hallam Flat case 2 35. Andersen, H. C. (Hans Christian), Moorhouse (London: Humphrey Milford, 1805-1875. Oxford University Press, 1924). Andersen Fairy tales and stories / Hans Christian This is a biography of Andersen written as a Andersen; translated by Dr. H.W. Dulcken children’s school reader in England. Ander- 33. Andersen, H. C. (Hans Christian), (London; New York: G. Routledge and Sons, son was one of the first writers to modernise 1805-1875. [1880?]) the fairy tale genre. Many of his stories were The little match girl and other stories / by Most modern readers are familiar with Andersen original. By the 20th century he had become a Hans Christian Andersen; translated by H. tales through compilations of his stories rather subject for study in English schools. W. Dulcken (London: George Routledge and than individual books. Sons, 1869).

5 Flat case 3 41. Crane, Walter, 1845-1915. Flat case 4 Aladdin’s picture book: contain- Arabian nights ing Aladdin, The yellow dwarf, Fables Princess Belle-Etoile, The hind in the wood / with twenty-four 39. The thousand and one nights, 44. Aesop commonly called, in England, the pages of illustrations by Walter Crane ; printed in colours by Aesopi Phrygis vita [M. Planude auctore] Arabian nights’ entertainments : a et fabellae / cum latina interpretatione [Aldi new translation from the Arabic, with (London ; New York : George Routledge and Sons, [1876?]). Manutii]: Gabriae graeci fabellae (Basileae: copious notes / By Edward William apud I. Frobenium, 1518). Lane; illustrated by many hundred The Nights tales’ oriental origins readily lend engravings on wood, from original themselves to fantastic illustration. Walter Fables are not fairy tales but represent a very designs by William Harvey (London: C. Crane was a prolific children’s book illustrator old cross-cultural folk tradition that formed a Knight and Co., 1839 [i.e. 1838]-1841). in the second half of the 19th century. He was basis for the fantastic. These were short fictional moral stories that depicted animals with human The Arabian Nights stories, about 270 in total, renowned for his ‘toy books’ designed to bring qualities. They were among the earliest books to came from an oral tradition going back to at least inexpensive colour illustrated books to children. appear in printed form. the 9th century and began appearing in written form in the 15th century. They had Arab, Indian, 42. The Arabian nights: with about 45. Aesop and Persian origins. They were translated into one hundred and thirty illustrations / Æsop naturaliz’d: in a collection of fables French in 1704-17 by Antoine Galland. This is by W. Heath Robinson, Helen Stratton and stories from Æsop, Locman, Pilpay, and their first appearance in English but it is far from and others (London: others. The fourth edition; with the addition complete. It contains 30 full and 55 short stories. Constable, [1908]). of above fifty new fables (London: printed for 40. The book of the thousand nights A striking pictorial cloth D. Midwinter, 1727). binding with illustrations and a night / translated from the Arabic The fables attributed to Aesop as collections are by Sir R.F. Burton; reprinted from the throughout. The other Robinson book in this ex- most likely derived from many sources rather original edition and edited by Leonard than the work of one man. Aesop was a Greek C. Smithers (London: H.S. Nichols, hibition is more elaborate (see no. 17). storyteller who lived from 1620-1560 BC. The 1894-1897). fables were first translated into Latin in the 1st Burton’s first translation was a 10 volume work 43. Sindbad the voyager: and century. Much later, these appeared in German in 1885 with six more volumes appearing in other stories (London: George Rout- in 1476 and Middle English in the 15th century. 1886-8. At the same time as Burton, John ledge and Sons, [1875?]). Payne was working on another translation. It Rather than presenting the many stories all has been claimed that Burton plagiarised some together in its interwoven narrative, often the of Payne’s work, especially for the later stories, Arabian nights tales, such as Sinbad, appeared and took over his subscriptions for Payne’s in smaller single story books or with a few sec- complete work. Even so, Burton’s translation ondary stories on related themes. is recognised as the most true to the original tales retaining the colourful language and sexual elements.

6 46. Aesop Flat case 5 50. Chisholm, Louey. Fables of Æsop and other eminent mytholo- In fairyland: tales told again gists: with morals and reflections / by Sir Popular / by Louey Chisholm; with Roger L’Estrange Kt. 8th ed. corr. (London: pictures by Katharine Printed for A. Bettesworth, [etc.], 1738). Cameron (London: T.C. & 48. Dulcken, H. W. (Henry William), E.C. , [1905?]). Third Sir Roger L’Estrange was a 1832-1894. impression. Royalist pamphleteer, and The old favourite fairy tales / told for the classical scholar with many hundredth time by H.W. Dulcken; illustrated In the preface it is ex- translations to his name. Dur- with coloured pictures and three hundred plained the stories have been ing the Restoration he acted other illustrations by Hablot K. Browne ... [et abridged for reading aloud to children, in the as censor and Licensor of al.] (London: Ward, Lock & Co., [1896?]). ‘mother’s style’ where ‘you leave out all the not the press. He was dubbed interesting bits.’ the “Bloodhound of the Press” by In addition to Christmas gift books, collections disgruntled publishers. The frontispiece shows of illustrated fairy tales were given as school 51. Warne’s picture playmate: compris- Aesop with a hunchback, as legend had de- pizes. This copy bears the label for Cambridge ing Little Red Riding Hood, Old Mother scribed him, surrounded by his animals. Street State School, Collingwood, and was Hubbard, Horses, Cock Robin’s Death awarded in Sept. 1909. and Burial, Book of Trades, Dogs, with 47. Aesop forty-eight pages of illustrations, printed 49. Popular nursery tales and rhymes: Some of Æsop’s fables in colours (London: Frederick Warne / with modern with one hundred and seventy illustra- instances shewn in designs by Randolph and Co., 1866). tions / by Harrison Weir, Absolon, Cor- Caldecott; from new translations by Alfred The publishers Frederick Warne were renowned bould, Zwecker, H.K. Browne, Wolf, &c., for well produced children’s books in the 19th Caldecott; the engravings by J.D. Cooper. &c., engraved by the brothers Dalziel century. Uniform title: Aesop’s fables. English. Selec- (London: George Routledge and Sons, tions (London: Macmillan and Co., 1883). [1865?]). 52. Linnell, Olive. Caldecott (1846-1886) is considered one of Collections of fairy tales and nursery rhymes Spring songs: with music: from “Flower the best children’s illustrators in 19th-century cobbled together were popular from the fairies of the spring” / words and pictures by England. He influenced other great artists such mid-19th century on. This volume was heavily Cicely Mary Barker; music by Olive Linnell as Crane and Greenaway. The illustrations in illustrated by the Dalziels but contained only a (London; Glasgow: Blackie, [1920?]). this book show the moral of each fable applied few fairytales; The Three Bears, The Brave Little to English society in a facetious way. Tailor and Cinderella. Cicely Barker’s flower fairies were a popular series that appeared in many books and are highly collectible today. Flower Fairies of the Spring was her first book. It was followed by Summer and Autumn. Winter was released posthumously, put together from her unpublished works.

7 Flat case 6 56. Jean and the shell fairy / [illustra- 59. The history of Jack the Giant-Killer tions by Sheila Hawkins] ([Australia]: (Otley: Printed by William Walker, [181-]) Popular Shell Company, [194-?]). ‘Jack tales’ began appearing in the early 1700s, The Shell Oil Company released a series of especially in chapbook literature. In the cycle of 53. Silver-voice: a fairy tale being books in the form of fairy tales to advertise their stories the early Jack tales show Jack physically The adventures of Harry’s mother, petrol in the 1940s. They commissioned Ida overpower his foes such as and . Harry’s sweetheart, and Rentoul Outhwaite to illustrate two more books They later develop into Arthurian tales with Harry himself: comically in this series, which are also in our collection. elements of . Typically the tales carried illustrated (London: Field messages of honesty and valour. & Tuer, [1887?]). 57. ’s Field and Tuer was a London Snow White and 60. The history of Puss in Boots (Derby: publishing house known for the seven dwarfs Thomas Richardson, [181-?]). quirky, humourous books. This / adapted from The Puss in Boots tale had progressed over is a typically colourful and at- Grimm’s fairy tales. three centuries from the fairy disguised as a cat tractive example of their style. Schneewittchen. in Straparola, through Basile’s well spoken real Adaptations cat, and Perrault’s boot-attired cat with magical (London: Collins, 54. Cinderella / [R. André] (New York, powers. [1939?]). N.Y.: Merrimack, [196-?]). Many of today’s children have been intro- 61. Cinderella or the little glass slipper This is a shape-book giving a view of the stage duced to the old fairy tales by way of Disney (London: Ward, Lock & Co., [188-?]). where a pantomime of Cinderella is being animations and adaptations. performed. Each page is This version is a more elaborate cut down the middle to chromolithographic enable readers to view the Flat case 7 book, but still in the scene on the stage as chapbook tradition. It is well as the audience in Cheaper productions in some ways similar to the boxes. The copy on a modern graphic novel. display is a replica of the 58. The history of Tom Thumb (Banbury A former owner has had original 1904 edition. [Oxfordshire]: Printed by J.G. Rusher, it bound with several [1820?]) other chapbooks. 55. Fairy tales from Street literature in the form of broadsides and Andersen and Grimm, also some of 62. Cinderella, or, The little glass slipper chapbooks circulated as early as the 16th Aesop’s fables: with over 150 funny (York: Printed by J. Kendrew, [181-?]). century. These were media for songs, poems, pictures. Other title(s): Cole’s fairy tale political tracts and children’s stories in a Juxtaposed to the colour-illustrated Cinderella book (Melbourne: E.W. Cole, [192-?]. cheaper form. By the mid-19th century most of Ward, Lock this is a more representative Cole’s Book Arcade was an Australian icon in children would have been exposed to fairy tales chapbook from J. Kendrew. Here the illustra- the bookselling world. This inexpensive book of through chapbooks. tions are crude black and white woodcuts. popular fairy tales was published with the easily recognisable Cole’s rainbow on the cover.

8 63. Cinderella: a children’s story book 66. Babes in the wood 68. Finn, Edmund, d. 1922. from SURF ([S.n.]: SURF, [195-?]). (London: Darton & Christmas, 1884-85, Theatre Royal, T.F. Like the Shell fairy book (no. 56), this version of Hodge, [1862]). Doyle’s grand Christmas pantomime / local- Cinderella was issued from SURF washing pow- An example of a sixpenny ised by Edmund Finn and entitled Cinderella, der as an advertising promotion. It was probably . These were her sisters, her sorrows and her little glass slipper, or, The fairy godmother who wouldn’t issued gratis with the product. produced as inexpensive let the bad step-farther, produced at the children’s books with Theatre Royal, Melbourne, Boxing Night, 64. The history of Cinderella: or, The colour illustrations similar to the toy 1884-85, under the management of Messrs. little glass slipper. To which is added, books of Walter Crane. Darton and Hodge gave Williamson, Garner and Musgrove (Mel- The babes in the wood (Glasgow: three selling features on the cover “6d., col’d., bourne: Troedel & Co., [1885?]) Printed for the booksellers, [ca. 1840]). indestructible.” In the copy here it appears a Finn was a novelist and son of the famous person has attempted to test the latter claim Another chapbook bound chronicler of Melbourne “Garry Owen” (Edmund with others by a former owner. with a pair of scissors. Finn Snr.) The sole illustration in it is of a Victorian manor on the 69. Angus, J. Keith. titlepage, which was probably Flat case 8 Children’s theatricals: being a series of popular a printing plate used as a fairy tales: adapted for presentation in the generic image of a house Pantomimes drawing room / written by J. Keith Angus (Lon- rather than specifically for don: George Routledge and Sons, [1888]). Cinderella. By 1840 the 67. The Queen’s Christmas panto- story of Cinderella had gone mime, 1880-1881: expressly written The adaptation of fairy tales into pantomimes through many tellings and mutations by Basile, and invented for Coppin, Hennings and and theatre could prompt children to put on Perrault, and the Grimms. From extremes of the Greville, with annotations local, vocal their own productions at home. This book step-sisters getting punished by birds pecking & jokal, by four different authors, and contains instructions for performing Beauty and their eyes out to mutilating their own feet, to entitled . Other title: the Beast, Blue Beard, Babes in the Wood, and a very forgiving Cinderella who finds suitable Jack the giant killer (Sydney: H. Solo- Little Red Riding Hood. husbands for the sisters. mon, printer, [1880]). Although pantomimes were usually re-worked 70. Darewski, Herman. 65. Roscoe, William, 1753-1831. from fairy tales such as Jack the Giant Killer, On the silvery sands they were not only for children, but were de- [music] / written by Arthur The butterfly’s ball, and the grasshopper’s signed as family entertainment. While the C. Findon; composed by feast / by Mr. Roscoe; to which is added, children could enjoy the fairy tale magic, the Hermann E. Darewski, an original poem entitled, A winter’s day, by spectacular scenery and lighting effects, parents Junr. (Melbourne: Mr. Smith, of Stand (London: Printed for J. were amused with a revue-style commentary Stanley Mullen Propy, c1910). “Sung by Harris, 1816). on the local contemporary scene; often with Miss Sybil Arundale the added feature of the lead boy played by a Unlike large productions which featured only the in J.C. Williamson’s most popular stories exclusively, chapbooks pro- young actress in tights. pantomime Jack and vided an outlet for lesser known stories and even the beanstalk.” some original fairy tales of an unusual nature.

9 This was a huge production, JC Williamson this series is the use of crepe paper which was 79. The Allies fairy book / with an claimed to have searched the world for popular made from organic material. It is very flexible introduction by Edmund Gosse and acts to put in the extravaganza. It included and feels like crepe cloth. It has survived very illustrations by Arthur Rackham acrobats, the comic actor Jack Cannot in drag, well over time due to the low acid levels com- (Philadelphia : Lippincott, [1916]). women in tights, and the singing, talking Jessie pared to western papers. A wonderful collection of stories from each the cow. It was advertised as the ‘best ever in of the contributing Allied countries in WWI. It Australia.’ 73. The old man who made the dead included well known tales from Great Britain, trees blossom / Translated by D. , Italy, Portugal, Japan, Russia, Serbia 71. Piantadosi, Al, 1884-1955. Thomson. Japanese fairy tale series and Belgium and featured colour-illustrations by That’s how I need you [music] / words by no. 4 (London: Griffith Farran; Tokyo: the eminent artists of the day, including Arthur Joe McCarthy and Joe Goodwin ; music by Kobunsha, 1885). Rackham. This copy is from the collection of Al Piantadosi (Sydney : Albert & Son, c1912). Ada and Irene Booth, with the bookplate of Irene From Aladdin. 74. Kachi Kachi Mountain. Japanese Booth. fairy tale series, no. 5 (Tōky: Hasegawa Another tale adapted for the stage was Aladdin. Takejir, Meiji 19 [1886]). It featured the Australian Bird Ballet, Fire Ballet, Flat case 10 the Living Flag of Australia, the Moving Train 75. The mouse’s wedding. Japanese Illusions, and the March of Flowers. fairy tale series, no. 6. [English ed.] Australian (London; Sydney: Griffith Farran & Co., Flat case 9 [1888]). 80. Marson, Charles L. (Charles Latimer), 1858-1914. 76. James, T. H., Mrs. Other countries Faery stories / by Chales L. Marson (Ad- The ogres of Oyeyama. Japanese fairy tales elaide: Petherick, [1891]). 72. Momotaro. Japanese fairy tale series no. 19. (Tokyo: Kobunsha, [1891]). Australian fairy tales can be traced back to series, no. 1. [English ed.] (London ; the 1850s but it was not until the 1870s that Sydney : Griffith Farran & Co., [1888]). 77. Hearn, Lafcadio, 1850-1904. extended work in book form began to appear. On display in this case are crepe paper books Chin chin kobakama / rendered into English In all, very few fairies make their appearance in from the Japanese Fairy Tale series of Hasega- by Lafcadio Hearn; [henshu Hasegawa Australian books in the 19th century. wa Takejirō (長谷川武次郎?, 1853–1938). Takejiro] (Tokyo: Hasegawa Takejiro, Meiji 36, Marson’s work represents an early attempt to These were folk and fairy tales translated into [1903]). incorporate the creatures of fairy land in an European languages, mainly for tourists. The Australian setting. He featured ‘bad fairies’ series contained 28 numbers. Some of the later 78. Hearn, Lafcadio, 1850-1904. in the form of trolls and goblins that tried to numbers may or may not have been translations corrupt children. Marson was in Australia from but rather a combination or re-working of folk The old woman who lost her dumpling / 1889-1892 to serve as a minister at St. Peter’s tales. In addition to English versions there were rendered into English by Lafcadio Hearn; in Glenelg, S.A. However, he was relieved of French, German, Spanish, Portuguese, and [henshu Hasegawa Takejiro] (Tokyo: his position because of ‘eccentricities’ and Swedish. The series was revived in reprints by Hasegawa Takejiro, Meiji 35 [1902]). his socialistic leanings. The book contains no Griffin Farran & Co. One of the main features of illustrations.

10 81. Westbury, Atha. Newmarch. Leason was an artist and cartoonist 87. Fitzgerald, Mary A. Australian fairy tales / Atha Westbury; who trained as a lithographer with John Sands. King Bungaree’s Pyalla and stories : illustra- illustrated by A.J. Johnson (London: Ward, Here is Fairy is a collection of poems and tive of manners and customs that prevailed Lock, 1897). stories with fantasies of gypsies, princesses, among Australian Aborigines / by Mary A. and fairies. Fitzgerald (Sydney: Edwards, Dunlop & Co., Westbury attempted to transport fairy land to [1891]). an Australian landscape in places like Ballarat 85. O’Harris, Pixie, This copy belonged to the family of Lawrence and Fitzroy. The stories are not as horrific as 1903-1991. Marson’s (see no. 80). Hargrave. The cover shows an elderly Abo- The fairy who wouldn’t riginal man telling stories to a group of white fly / told & pictured 82. Moore, H. Byron. children. The book is a collection of legends by Pixie O’Harris but these have been adapted to white people’s How the cruel imp became a good fairy, and (Sydney: Marchant, sense of the order of things. other stories / by H. Byron Moore; illustrated [1947]). by Frederick S. Sheldon, George J. S. Ross, 88. Davison, Frank Dalby, 1893-1970. T. G. Moore, and H. Winkelmann (Melbourne: Pixie O’Harris was Melville & Mullen, 1900). one of the most celebrated Children of the dark people / by Frank Dalby and prolific authors and illustrators of Australian Davison. Junior library ed. (Sydney: Angus This is a strange collection of gruesome fairy children’s books. and Robertson, 1949). tales. In it fairies are evil creatures who roast live dogs and dismember local fauna. An influential book for Australian fantasy writers Flat case 11 in which two children are guided by the ‘spirits 83. Hume, Fergus, 1859-1932. of the bush’ including a bunyip from the ‘forces of fear.’ The chronicles of faeryland: fantastic tales Australian for old and young / by Fergus Hume; illus- 89. Australian legendary trated by M. Dunlop (London: Griffith Farran, 86. Peck, C. W. (Charles William) tales: folk-lore of the [1892]). Australian legends: tales handed down from Noongahburrahs as told the remotest times by the autocthonous Hume was the author of the best selling crime to the piccaninnies / inhabitants of our land / C.W. Peck; illus- story of the 19th century, The Mystery of a collected by Mrs. K. trated by Geo. Pownall (Melbourne: Lothian, Hansom Cab (1886). He was a prolific author Langloh Parker; with an c1933). with over 100 titles to his name, but his Chroni- introduction by Andrew cles was the sole fairy tale book. There are no In the 20th century, Dream- Lang; illustrations by a uniquely Australian elements in the stories. time stories and Aboriginal native artist ... (Melbourne: were beginning to Melville, Mullen & Slade, 1897). 2nd ed. 84. Here is faery / illustrations be reckonised as worthy of Parker was a gifted writer who recognised the and decorations by Percy Leason study and documentation. importance of folk lore. She set about collecting (Melbourne: George Robertson & Co., Peck was one of the first the ancient stories of the Euahlayi and recorded 1915). to produce a collection of them accurately as well as adding her own A volume containing verse and two stories by stories from eastern New literary flair. Furnley Maurice and two plays by Roy Leathes South Wales.

11 90. Parker, K. Langloh (Katie Langloh), Small upright 94. Hume-Cook, James, 1866-1942. 1856-1940. Australian fairy tales / by Hume Cook; with More Australian legendary cabinet illustrations by Christian Yandell (Melbourne: tales / collected from vari- J. Howlett-Ross, 1925). ous tribes by K. Langloh Australian Hume Cook was a politician and a president Parker; with introduction of the Australian Natives Association. He was by Andrew Lang; with 92. Outhwaite, better known as a writer of political tracts. illustrations by a native Ida Rentoul, His fairy tales were written to tell his own artist (London: D. Nutt; 1888-1960. children. His book was introduced by his friend Melbourne: Melville, Elves & fairies of the ex-Prime Minister Billy Mullen & Slade, 1898). Ida Rentoul Out- Hughes. Yandell’s illustrations Having found a market with her first book hwaite / verses depict fairies differently of Australian legends, the gathering and retelling by Annie R. from the style popular at of the stories continued through three books. Rentoul; edited the time. They are half- by Grenbry Outhwaite naked powerful adults in a 91. Parker, K. Langloh (Katie Langloh), (Melbourne: Lothian, 1916). classical, revivalist style. 1856-1940. The Outhwaites were a literary family. Here Woggheeguy; Australian aboriginal legends the accomplished artist, Ida, has illustrated / collected by Catherine Stow (K. Langloh her sister’s verse. Ida’s fairies were common Corridor Parker); illustrated by Nora Heysen Australian household icons and appeared in cases (Adelaide: F.W. Preece, 1930). games, music and advertising. This book and Fairyland (no. 93) were issued as deluxe edi- On display is a selection of After remarrying, Parker tions by subscription. books. produced a third volume of Australian legends 93. Rentoul, Annie R. (Annie Rattray) under her new name. Screens Fairyland of Ida Rentoul Outhwaite / verses by Annie R. Rentoul; stories by Grenbry Here are examples of the beautiful illustrations Outhwaite and Annie R. Rentoul (London: from the lavish gift books. A. & C. Black Ltd, 1931).

Following the popularity of Elves & Fairies, Fairyland made its appearance in 1926. The limited edition of 1000 copies cost five guineas but could be purchased on subscription prior to publication for four.

12 A delicate fairy depicted by Ida Rentoul Outhwaite for the 1926 deluxe volume Fairyland. 13 pr pictures fromtheElf-World (2nded.1875). Cover: OneofRichard Doyle’s exquisiteillustrationsfrom aseriesof InFairyland: visit monash.edu/library/collections/special/rare. supported byateamofrare bookslibrarians.Formore information Clayton campus,thecollectionprovides areading room forresearchers andis uniqueness orphysicalbeauty. HousedintheSirLouisMathesonLibraryon The Rare BooksCollection comprisesmaterialconsidered rare becauseofage, Director, Resources: JanetteBurke Director, Research Infrastructure: DavidGroenewegen Director, Macmillan ClientServices(Science,HealthandEngineering):Wilna Director, ClientServices(HumanitiesandSocialSciences):LisaSmith University Librarian:CathrineHarboe-Ree monash.edu/library.Visit and useoftechnology. and through leadershipin research skillsdevelopment,scholarlycommunication As oneofAustralia’s leadingacademiclibraries,westrengthen the monash.edu/library oviding outstandingscholarlyresources andstudyfacilitiesatmultiplelocations U niversity by

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