Lewis Carroll's "Alice's Adventures in Wonderland" and "Through the Looking Glass" have captivated the imagination of adults and children alike since they first appeared more than a hundred years ago. Since that time many artists have attempted to capture their dreamlike combination of impossible events, precise detail and weird logic. Mervyn ...
Lewis Carroll's "Alice's Adventures in Wonderland" and "Through the Looking Glass" have captivated the imagination of adults and children alike since they first appeared more than a hundred years ago. Since that time many artists have attempted to capture their dreamlike combination of impossible events, precise detail and weird logic. Mervyn Peake is one of the few to have succeeded. Famed worldwide for his Gormenghast trilogy, Mervyn Peake was also an illustrator of rare and wondrous talent, whose editions of "Treasure Island" and "The Rime of the Ancient Mariner" are universally admired. In the 1940s, he was commissioned to produce a set of 70 pen-and-ink drawings to accompany Lewis Carroll's two classics, "Alice's Adventures in Wonderland" and "Through the Looking-Glass". They are among his best work as an illustrator. Unavailable in any edition since 1978, these extraordinary illustrations, many of which were drawn on poor quality wartime paper, have been restored to their former clarity and crispness by a combination of old-fashioned craft and the latest computer technology. They are now meticulously reproduced, for the first time, as they were meant to be seen. This exquisite two-volume set is the first edition to do justice to two great English eccentrics.
Tenniel, John. New. 100% Money Back Guarantee. Brand New, Perfect Condition. We offer expedited shipping to all US locations. Over 3, 000, 000 happy customers. Mass market (rack) paperback. Glued binding. 238 p. Contains: Illustrations, black & white.
This book arrived very quickly and in good condition, exactly as described.
Dec 24, 2009
The two book boxed edition arrived in good time. It was in pristine condition.
Sep 11, 2008
for the child at heart....
This book, like all Carroll's work really is a classic. As with all books there are stark differences from the movies and this is no different.
This heartwarming tale is a must have for any collection. Whether you wish to read it for fun or to a child, i highly recommend this book!
With its light hearted humour and occasional poetry it will have you smiling ever time.
Oct 10, 2007
This is a great book to read. Its so much fun. The fact Alice is having trouble finding her way back home may scare young sensitive children. The Duchess mistreats a baby in a comical fashion, but again might upset some children. There are alot of scary scenes. The Carpenter and the Walrus eat all the clam people and the Queen of Hearts wanting to cut off people's heads all will upset young readers. For slightly older children this is a great book for them. Alice has one adventure after another meating a batch of colorful characters.
Publishers Weekly, 2003-09-22 Readers will be astonished by every tableau in this pop-up extravaganza. The initial spread explodes into a surprisingly tall green forest, topped by billowing leafy shapes that resemble the Cheshire Cat, Mad Hatter and Queen of Hearts. On the lawn below, in papery 3D, Alice scurries about while the White Rabbit checks his pocket watch. Along the left-hand border of the book, a series of narrow flaps present an adaptation of Lewis Carroll's text. These pages-within-pages feature pop-ups of a green bottle ("Drink me") that shrinks Alice, a cake that makes her a giant and Alice swimming in "the pool of tears that she had wept when she was nine feet high." Finally, an accordion-pleated square in the lower right corner expands into a long, vertical rabbit hole; through its circular window, Alice can be seen falling, as if into a well. And that's only the beginning. Subsequent stages of this moveable feast include a wiggly Alice grown too large for the White Rabbit's house; a Mad Tea Party with shining silver-foil tea service (the March Hare and Mad Hatter dunk the Dormouse in a teapot); and Alice waving her arms as the Queen and her court, transformed to a "pack of cards," arch over her head like a rainbow. Those who know the story can best negotiate this wonderland, for the narrative gets a bit lost in the visual dimensions. Sabuda, who also has adapted The Wonderful Wizard of Oz, borrows from the Tenniel illustrations, but pares them down and drenches them with violet, fuschia, gold and green hues. His paper engineering snaps solidly into place, and elements like the Cheshire Cat's unfolding face are both startling and beautiful; and the pack of cards rising up into the air will have the audience studying how Sabuda created the effect of scattering and tumbling. A Jabberwocky cheer of "O frabjous day! Calloo, callay!" seems appropriate for this salute to Carroll's classic. All ages. (Oct.) (c) Copyright PWxyz, LLC. All rights reserved
Publishers Weekly, 1999-11-01 Zwerger's (The Wizard of Oz) captivating cover image of the Mad Tea-Party for this edition of Carroll's 1865 tale conveys the psychological tension of the interior artwork: Alice, at the head of an elongated table with a pristine white linen cloth, stares at the pocket watch that the March Hare is about to lower into his cup of tea. The Hare, bug-eyed, gazes out at readers while the Mad Hatter to his right, wearing a hat box, fixates on a black upturned chapeau (in lieu of a place setting), and the Dormouse between them sleeps. Across the table, an empty red mug is placed in front of a vacant green chair, and a teacup and saucer trimmed in red seems to be set for the reader. The painting conveys the way in which Zwerger brilliantly manages both to invite readers into the story and to keep them at a distance. From the heroine's first appearance, as she falls down a well while chasing the White Rabbit, with a glimpse of orderly bookshelves at the upper left corner, Zwerger demonstrates the many layers to Alice's journey: a cutaway view reveals that the bulk of the other "shelves" are the result of rats and insects tunneling underground. The supporting cast conveys the artist's nearly sardonic perspective. The contrary caterpillar, with six of its eight arms crossed, would be at home in New York's East Village: instead of a hookah it smokes a cigarette and sips red wine, yet?unlike Sir John Tenniel's sedated counterpart?this caterpillar is lucid, defiantly staring out at an Alice (and readers) absent from the scene. Zwerger's penetrating interpretation reinvents Carroll's situations and characters and demands a rereading of the text. All ages. (Oct.) (c) Copyright PWxyz, LLC. All rights reserved
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