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Tales
a nd
Fairy Stories, by Hans Christian Andersen.
Translated by Madame de Chatelain. Illustrated by
Henry Warren.
London: Geo. Routledge & Co., 1855.
The engravings in this volume
are excellent examples of mid-nineteenth century romantic or
sentimental illustration style. Each one has been
hand-colored with unusually bright watercolors.
Stories from Hans Andersen.
With Illustrations by Edmund Dulac.
London: Hodder & Stoughton, 1911.
This is the
first edition of the volume that also appears in Case 2 to
illustrate “The Princess and the Pea.” The only significant
difference between the two is the different-colored cloth
used for the binding.
The
Little Mermaid.
Translated by M. R. James. Illustrated by Pamela Bianco.
New York: Holiday House, 1935.
The
illustrations in this volume are good examples of the
streamlined classicism of the 1930s that closely overlaps
with the art deco movement. The text header to each page
changes to provide a synopsis of what happens to the little
mermaid in its corresponding passage: “wishes to be mortal,”
“visits a sea witch,” and on the last page “finds eternal
life.”
Hans
Andersen’s Fairy Tales.
A New Translation by Reginald Spink. With 8 Pages of
Colour Plates and Line Drawings in the Text by Hans
Baumhauer.
London: J. M. Dent & Sons Ltd., 1958.
Augusta Baker Collection.
Michael
H ague’s
Favourite Hans Christian Andersen Fairy Tales.
New York: Holt,
Reinhart and Winston, 1981.
Augusta Baker Collection.
Hague is
probably best known for his illustrations to Kenneth
Grahame’s The Wind in the Willows. He is a popular
artist who has illustrated numerous editions of classic
fairy tales.
Extra
Item:
 The
Little Mermaid.
A bronze sculpture of The Little Mermaid by
Edvard Eriksen
(1876-1959) was installed on the Copenhagen waterfront in
1913. It is now a Danish national symbol and widely
reproduced.
Collection of Elizabeth Sudduth.
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