Little Tot’s Holiday Book. New York: Warne & Co., ca. 1881. (Cotsen 30357)
As the days of summer dwindle into a precious few, the long days of sunshine slowly get shorter, and a new school term impends, we all tend to wonder: “Where did the summer go?”
With that thought in mind, we might help keep summer alive a little longer by taking a look at how children’s book illustrators picture summer and its activities.
It certainly didn’t take children’s books to make school kids (and the rest of us) love the prospect of having time off from school and being able to enjoy all the activities available for a few precious months a year. But nineteenth-century books for children certainly stressed summertime fun and vividly pictured outdoor activities, some relatively ‘novel’ ones at the time, such as beach holidays at newly-popular (and accessible) ocean-side resorts. As such, they provide a terrific window onto life and leisure-time activities at the time.
Children at the shore (detail from Little Tot’s Holiday Book).
Frederick Warne & Co., one of the major nineteenth-century publishers of children’s books readily added “holiday” books picturing seasonal and summertime fun to its line of books. The large format (over 12″ tall) picture book Little Tot’s Holiday Book features vivid, full-page chromolithographed illustrations of children in all sorts of holiday activities (including some in winter). The bright red cloth front cover features a paper onlay of two Victorian children at a seaside locale. Note their fashionable, but modest, attire, fairly typical for the time.
“A Holiday at the Seaside.”
One of the illustrations inside the book shows children happily engaged in a range of contemporary seaside activities: playing on the beach and making sandcastles, taking donkey rides, and riding in a goat cart. I like the background detail of “On the Sands,” which shows a Brighton-like pleasure pier, one of the “novel” aspects of Victorian seaside resorts.
“Off to the Seashore”…via train.
Another full-page illustration features a train. While trains were always popular with children, particularly boys, why does a train appear in a holiday book? The answer lies in the caption: “off to the seashore.” Trains were a relatively novel form of transportation at this time, and one of the ways that middle-class and more prosperous working-class families went to the seashore in the 1880s.
Little Tot’s Holiday Book, alternate cover – Cotsen 30357 (c.2)
Little Tot’s Holiday was apparently a popular title, because Warne issued another version of the same title, with identical content, but a different cover, one showing a very different kind of summertime activity. Again, two fashionable and apparently affluent children (similar to the book’s target audience) are featured, but this time they’re presented in a rural setting, getting donkey rides from a young adult from the country (note, his mustache and “rural” attire).
Warne’s picture books repeatedly show children at the seaside, attesting to the popularity of the subject. Another large-format picture book, Little Tots Playtime Book includes an illustration of a girl on a donkey, a sailor-suited boy, and the family dog on the beach, with sailboats in the background and a nearby patriotic Union Jack, which breaks the perfect (“boring”?) symmetry of the rectangular frame and creates visual interest via a technique sometimes used by painters.
At the seashore again… Little Tots Playtime Book. New York: Frederick Warne & Co., ca. 1881. (Cotsen 30359)
Cover of Little Tots Playtime Book
The general design of the Playtime Book’s cloth cover is essentially the same as that of the Holiday Book (perhaps this was Warne’s stock design for these picture books?), but the inset chromolithographed medallion provides quite a different, more formal and stylized, view of little women in summertime — a somewhat Kate “Greenawayesque” presentation.
Cover of Kate Greenaway’s Book of Games. New York: Routledge & Co., ca. 1899. (Cotsen 5633)
Speaking of Kate Greenaway (whose presentations of children are famous), let’s take a quick look at how she pictures summer in Kate Greenaway’s Book of Games, issued by by George Routledge & Sons in 1889 (and later reissued by Warne in 1899). The cover shows a vignette of children on a rustic teeter-totter. The twenty-four colored wood-engraved illustrations by Edmund Evans show children in Greenaway distinctive style: extremely well-dressed, fashionable, and not very kinetic. The two illustrations below present several girls in caps playing “Battledore & Shuttlecock” (“badminton” to us now) and “Puss in the Corner,” both accompanied by brief descriptions of the games.
“Battledore & Shuttlecock”
“Puss in the Corner”
I wouldn’t want to give you the impression that summertime and beaches are featured only in English books for children — that was definitely not the case! For instance, a German book, In Sommer, from about 1900 features a terrific, highly-saturated color depiction of children playing on the beach on its cover. And illustrations inside the book show children busily involved in other summer activities: flying kites, picking flowers, and making quite a fuss over an apple!
In Sommer: quite a fuss about an apple in the woods on a bright summer day
In Sommer: Children and their kites, including the “Man-in-the Moon” and giant clown face
Children on the beach: cover of In Sommer. [Germany?, ca. 1900]. (Cotsen 52215)
Another terrific book cover appears on Johnny Headstrong’s Trip to Coney Island, published about 1882 by New York’s McLoughlin Brothers, perhaps the preeminent children’s books publisher in the USA at the time. In the 1880s, Coney Island was a seaside resort for residents of New York City and Brooklyn Heights, a place reached by train and with the same sort of summery, festive ambience as Cape May or Cape Cod, if you can imagine that. The chromolithographed cover of this “toybook” presents an idyllic beach scene via illustrator William Bruton’s artwork, although something in Johnny’s own facial expression suggests another strand in the thread of the story…
Johnny Headstong’s Trip to Coney Island. New York: McLoughlin Bros, ca. 1882. (Cotsen 540)
Johnny arrives at Coney Island with his family (note the masted sailing ships in the background)
Johnny Headstong’s story begins in much the same way as the other summertime books we’ve been looking at – a fashionable youth sets out for the Coney Island seaside resort accompanied by his sister, nanny, and father, a “kindly man of good repute…and wealth.”
But as his name suggests, Johnny is impulsive and lacking in self-discipline — he gets into all sorts of trouble… He climbs over the railing while sailing a toy sailboat, falls into a pool, and has to be fished out. He then “slips away” from the adults “to see things by himself.” More trouble ensues in the form of various misadventures, as Johnny hits another boy in the face with a ball, falls off a swing he pushed too high, and finds himself on a runaway donkey, causing mayhem on the beach and knocking over an apple-seller (as Bruton’s double-page illustration vividly shows). Eventually, covered in bandages, Johnny winds up back home, where his father admonishes: “You see what comes to heedless boys, whene’er they disobey.”
Bruton’s double-page illustration of Johnny Headstrong on the pony causing mayhem
So McLoughlin’s Brothers’ rendition of this “summertime story” is really one of the “cautionary tales” inspired by Heinrich Hoffmann’s Struwwelpeter for which the firm was famous: stories showing kids “acting badly” and suffering the consequences. Some of their other classics in this vein have titles like: Little Suck-a-Thumb, Naughty Girls, Lazy Sam, Inky Jake, Foolish Fanny, Paulina Pry, and Moping Mary. After all, “to please and instruct” was the company motto, even during summer vacation!
Enjoy more summer at the virtual exhibition on swimming!
Cotsen’s collection of manuscripts includes a very special copy of The Poetry-Drawing Book, whose purchase was underwritten several years ago by the Friends of the Princeton University Library. It belonged to Cole and his penciled initials are in the upper-left-hand corner just above the plates the clown is juggling. Cole and Colmore claimed that the book had been “tried out on hundreds of children” and perhaps a few of the “enriching, enlightening, and often hilarious” results were selected to go on the cover.
Cole’s son Rossa grew up to be a professional photographer, but the Cotsen copy of The Poetry-Activity Book does not happen to be filled with the little boy’s drawings. Cole intended it to be a showcase for somewhat older aspiring artists.
