Children as artists | Cotsen Children’s Library

The title page of the J. Deacon edition, a recent purchase by Cotsen, is printed parallel to the folds of the harlequinade. Adam is wearing a fig leaf. (Cotsen unprocessed)

Among the earliest moveable books are harlequinades, whose illustrations metamorphose when the flaps at the upper and lower edges are opened up and down. The most familiar examples illustrated key scenes in popular pantomimes staged in the late 1760s and early 1770s and a list of these “turn-ups” appeared in the 1775 catalogue issued by print seller Bennett and Sayers, where they were described as “moral and instructive Emblems for the Entertainment of Children” rather than promoting them as the novelties they were.

Calling them “emblems” might have been a tactic to reassure prospective customers that turn-ups extracted morals from plays regarded as less than improving. This language may also alludes to their sober ancestor that had no connection with the stage, The Beginning, Progress and End of Man, a small illustrated collection of emblems or “speaking pictures” from the 1650s. The license of May 30 1650 called it “a small tract of several foulded pictures…in verse.” Probably written to fit the panels and flaps, neither the illustrations or verse was polished enough to get the attention of print curators or literary critics. Nevertheless, it has survived (see below), while the Sayers edition, “Adam and Eve,” the title presumably taken from the first panel’s subject has not.

Cotsen has acquired another early edition of The Beginning, Progress and End of Man at the Justin G. Schiller Ltd. Sale at Heritage Book Auctions in Dallas, Texas December 16 2020. It is the stated third edition of the text in five panels and the only one with contemporary hand-coloring. The five metamorphosing subjects are Adam (to Eve, to mermaid), Abel (to Abel, to Cain killing Abel), the lion (to griffin, to eagle and child) the youth (to heart, to money bags), and man (skeleton). The block of the rampant lion faces right and has the face of a man that could be Charles I.. Below is the back of sheet with all the flaps open, followed by a shot of the other side with center five images visible.Dating the Cotsen copy more precisely than between 1671 and 1704 is not possible, given the available information about the publisher. Two J. Deacons traded from the Angel in Gilt spur street. The publisher could be either Jonah Deacon, a broadside ballad monger, who teamed up with P. Brooksby, J. Blare, and and J. Back to undercut the five Ballad Partners, or John Deacon who also dealt in cheap print from the Angel as well as the “Rainbow, Holborn, a little above St. Andrews Church.” One day we may have enough new more information about the different publishers to establish a more accurate chronological sequence.

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The Beginning, Progress and End of Man has only begun to attract attention within the last fifteen years. Malcolm Jones reproduced the British Library’s 1650 edition with flaps closed and a transcription of the text in The Print in Early Modern England: An Historical Oversight (2010) as an early example of “lift-the-flap” pictures. He correctly connected it to the better known genre of anatomical sheets, but passed over its ties with emblem literature for children. It seems to have been unknown to the authors of classic studies on 17^th-century English children’s books like William Sloane’s 1955 bibliography, Warren W. Wooden’s Children’s Literature of the English Renaissance (1986), and C. John Sommerville’s The Discovery of Childhood in Puritan England (1992).

Jacqueline Reid-Walsh’s articles and monograph Interactive Books: Playful Media Before Pop-ups (2018) on the long history of genres like the harlequinade which are hybrids of books, toys, and games, has put Beginning, Progress, and End of Man on the map. The union catalogue on her website Learning as Play: An Animated, Interactive Archive of 17^th– to 19^th-Century Narrative Media by and for Children has the most complete census of surviving copies: the one in four panels published by B. Alsop and T. Dunster (1650) at the British Library in the Thomason Tracts and at Pennsylvania State University Library; the five-panel E. Alsop and T. Dunster edition of 1654 at Harvard; and the five-panel J. Deacon edition ca. 1688 purchased by antiquarian Anthony à Wood at the Bodleian Library. The details of the Cotsen copy will be sent along shortly.

Reid Walsh’s research also shows that The Beginning, Progress, and End is an intriguing but little understood text that must have been wider circulation than the census of printed editions can possibly would indicate. We know this because of the survival of manuscript copies made by boys and girls in England, North America, and Scotland, none of them labored copies, all of them individual as their creators, who might be considered outsider artists…

Elizabeth Winspear’s four-panel version with a polka-dotted lion (Lisa Unger Baskin Collection, Duke University Library).

A Scottish boy’s handiwork from the 1820s. His lion’s eyes seem to glow. The bouquet is entirely his. The baby in the eagle’s claws in the detail below is particularly well-dressed. (Cotsen unprocessed manuscripts)

This post was first run in 2016 to promote a Cotsen exhibition about the Alice in Wonderland industry. You can’t see the show, but you can enjoy the wonderful illustrations made by children of their favorite characters featured here.

Tenniel’s Alice and the playing cards from the end of Lewis Carroll’s Alice in Wonderland (1865) Cotsen 657.

Alice in Wonderland has been delighting children and grown-ups for over 150 years now. In addition to Lewis Carroll’s text, the illustrations by John Tenniel and other, later illustrators have been a major source of readers’ delight.

Try to imagine Alice without any illustrations of the famous characters and scenes, either by Tenniel or other illustrators. Virtually impossible isn’t it? Carroll himself provided very, very little descriptive detail, if you actually look at his text. So our sense of how Alice and all the inhabitants of Wonderland look is strongly conditioned by illustration, when you stop to think about it. Textual and visual elements of Alice seem inseparably intertwined, with the illustrations shaping meaning, extending it, and sometimes commenting ironically on the text. Tenniel’s Queen of Hearts and Mad Hatter look comically absurd, rather than menacing or hostile, illustration leavening the tone of the words, which can be quite edgy, or even scary, all by themselves.

Professional illustrators have been reimagining Alice in new versions since the nineteenth century, including names like Arthur Rackham, Willy Pogány, Ralph Steadman, or Salvador Dali. (Yes, Dali did have a go at illustrating Alice, in his own distinctive style! More on that “curiosity” in a later posting.). The flood of the new illustrations shows no sign of abating in the twenty-first century either, based on recent editions.

“Cipher Alice” Cheshire Cat (detail) by Lesley Young (Cotsen 20836).

Another “Cipher Alice” Cheshire Cat (detail) by Lee MacArthur & David Dansey (Cotsen 20836).

But it’s worth remembering that adults haven’t been the only illustrators of Alice. Generations of children have reimagined Alice in their own pictures, mostly unpublished, but some have found their way into various publications. For instance, the Cipher Alice — a coded version of the story based on the Telegraph Cipher devised by Carroll — credits some twenty-six ten- and eleven-year old children as illustrators (in addition to twenty-nine named “code checkers” for the coder cipher text), all of whom were students at the Edward Peake Middle School in Biggleswade, Bedfordshire, England in 1990, when the book was printed by L & T Press, Ltd.

Alice & the “Drink Me” bottle, by Louise Lawson.

The students’ graphic renderings vary in style and sophistication, but all display the obvious pleasure that children have taken in Alice since 1865. Louise Lawson, for instance, pictures Alice as a smiling little girl with huge bow on her hair, wearing a variation of Alice’s traditional pinafore emblazoned with a super-hero’s “W” (“Wonderland”) and the name “Alice” added on her apron, just for good measure. She chooses to depict Alice theatrically holding up the “Drink Me” bottle at the beginning of her Wonderland adventures.

The book’s Preface, by supervising grown-up, Edward Wakeling, notes that the Cipher Alice was produced for the Alice 125 Project of the Carroll Foundation, Australia, which attempted “to set a world record for the number of different languages version of the same book.” Interest in Alice was indeed world-wide in 1990, and if anything, it has become even more so in 2016 (Alice 150), with the book having been translated into more than 170 languages in countless editions!

But as in so many editions of Alice, I think the illustrations in the Cipher Alice are “the thing” (with apologies to Hamlet), so I’d like to share some others with you. It’s one my very favorite editions, since it shows how child-readers responded to Alice. I also like the way that different children sometimes imagined quite different depictions of the same scene — there’s no one, “right” way to depict Alice, as the many different versions over the last 150 years have shown us! The illustrations are simply terrific fun to see too! (Click on any thumbnail image to see a larger version.)

Down into Wonderland via a tunnel-like maelstrom… past curious things on the way.	Descending into Wonderland via a bucket in a well… Past dinosaur fossils on the way!	Alice and the White Rabbit “after the fall” — Alice looks distinctly unhappy (and wears a name-tag).
Alice (wearing a “Cool” tee-shirt) as she shrinks, becoming too small to reach the key on the table.	Tiny Alice after shrinking too small to reach the door key on the (now giant-sized) table.	The Mad Hatter (price tag in his hatband) with a hot-dog, a coke, and an earring!
Alice and a mustachioed caterpillar, who also wears a monocle and smokes a gentleman’s pipe.	Alice (with a name-tag), an unusual-looking White Rabbit, and the Court of the Queen of Hearts.	“You’re nothing but a pack of cards!” –Alice. (And how about the Hatter’s outfit shown here?)

How do these illustrations compare with how you visualize Alice, Wonderland, and its inhabitants?

If you’d like to see more illustrations of Alice, Wonderland, and all its inhabitants, come visit the exhibition now in the Cotsen Gallery: “Alice, after Alice: Adaptation, Illustration, and the ‘Alice Industry’!”

Alice after “Alice” Exhibition at the Cotsen Library:
April 15–July 15, 2016
Free & Open to the Public, Daily 9-5

Cotsen Children’s Library

Princeton University

Category Archives: Children as artists

“The Beginning, Progress and End of Man:” Rare Harlequinades of Emblems Acquired

Picturing Alice in Wonderland: How Do Child Readers Imagine It?