The Original Illustrated Alice in Wonderland

Product Information

Angel Dominguez, Looking-Glass published by Inky Parrot Press, 2015, limited to 180 standard and 82 special copies 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 has long been a touchstone for fashion, too. Vivienne Westwood, Zac Posen, Viktor & Rolf, and John Galliano have all sent looks down the runway inspired by Caroll's characters and Tenniel's drawings, while the transformative, otherworldly possibilities of Wonderland hold appeal for fashion shoots.

Ralph Steadman, Alice published by Dobson in 1967 & Looking-Glass published by MacGibbon & Kee in 1972

Illustrations for ‘Alice’s Adventures Under Ground’

From the very beginning, then, the image of "Alice" has always been central. Tenniel certainly set an extremely high bar for illustrations – and he established many of the Wonderland tropes that endure across every medium, from her pinafore dress to the Hatter's top hat. Part of the reason Alice is so easily re-imagined is because she is so codified in the first place – something artists both use and subvert. Writing style and themes [ edit ] Symbolism [ edit ] Three cards painting the white rose tree red to cover it up from the Queen of Hearts (Coloured Tenniel illustration) Characters from the book are depicted on the stained glass windows of Carroll's hometown church, All Saints', in Daresbury, Cheshire. [127] Another commemoration of Carroll's work in his home county of Cheshire is the granite sculpture, The Mad Hatter's Tea Party, located in Warrington. [128] International works based on the book include the Alice in Wonderland statue in Central Park, New York, and the Alice statue in Rymill Park, Adelaide, Australia. [129] [130] In 2015, Alice characters featured on a series of UK postage stamps issued by the Royal Mail to mark the 150th anniversary of the publication of the book. [131] See also [ edit ]

When Runnquist received her finished illustrations in the fall of 1966, he immediately fired off an excited telegram to Jansson: “Congratulations for Alice— you have produced a masterpiece.”Garland, C. (2008). "Curious Appetites: Food, Desire, Gender and Subjectivity in Lewis Carroll's Alice Texts". The Lion and the Unicorn. 32: 22–39. doi: 10.1353/uni.2008.0004. S2CID 144899513.

Sheehy, Helen (1996). Eva Le Gallienne: A Biography. Alfred A. Knopf. ISBN 0-679-41117-8. OCLC 34410008. 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. According to Lewis Carroll, Tenniel also drew the rattle the wrong way. In a letter to Henry Savile Clark, dating November 29, 1886, Carroll states that Tenniel had drawn a watchman’s rattle (used to sound an alarm) in stead of a child’s toy rattle. He was certain that the latter was meant in the old nursery rhyme ( Gardner 227). Gardner, Martin (1993) [1960]. The Annotated Alice. Bramhall House. ISBN 0-517-02962-6. OCLC 33157612.

About

Elenore Abbott (with the Tenniel illustrations), George W. Jacobs & Co., no date (c. 1920, the date of a personal inscription in this copy), The Washington Square Classics Those of us enchanted by imaginative pop-up books— from an adaptation of The Little Prince to the life of Leonardo da Vinci to a naughty Victoriana— are bound to fall in love with Alice’s Adventures in Wonderland: A Pop-up Adaptation ( public library) by pop-up book artist and paper engineer Robert Sabuda. Originally published in 2003 — three years after Sabuda’s equally enchanting adaptation of The Wizard of Oz and five years before his take on Peter Pan— the book is a kind of “Victorian peep show” version of the Lewis Carroll classic. 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. Perraudin, Frances (3 March 2011). "Royal Ballet Takes a Chance on Alice". Time. ISSN 0040-781X. Archived from the original on 24 January 2022 . Retrieved 24 January 2022.