![]() There is very little detail of background and even of props, which are scarce.Īnd I'm editing here because upon further research, I find that Bransom did these pieces in color and they can be found here.īy Charles Scribner, and Bransom was one of the first illustrators, first published in 1913. His background is technical drawing and he specialized in drawing animals from life at the zoo, which explains his take on the characters. I did a chapter comparison in the Moore edition. She skips The Piper at the Gates of Dawn and Wayfarers All entirely, and combines the two last chapters into a re-named chapter The Return of Toad. I'll have to see whether those are included in any other editions she illustrates. They are quite stylized, with profile heads crowding most of the pictures, and very little action indicated. I ordered another of her books from the library. I'm enraptured by her version of The Town Mouse and the Country Mouse. Her artwork, her conceptual take, her sly humor, are all superlative. I wonder if it's a matter of loving one story and not the other, or if Aesop's story shows her more mature work. (it was published last year.) I highly recommend it. The only plate in WitW that I really like is this one. Her book is also a bit off because the artwork is on different paper, and the double sided plates are bound into the book at regularly paced page counts. (see comment #78 below, for my re-evaluation of Ward.) So the picture might not correspond with the part of the story being read. I had a few minutes yesterday to stop in the used book store and I found three illustrators, two who weren't even on my list. I guess the abridgements and adaptations are too numerous to keep track of. John Worsley illustrated Tales from the Wind in the Willows, which appears to be one chapter at a time in smaller storybooks. ![]() His work is reminiscent of Helen Ward, but with less grace.
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