Lloyd E. Cotsen (1929-2017): A Gift in His Memory from the Friends of the Princeton University Library

Lloyd E. Cotsen slipped away on May 8th after eighty-eight years of  life lived to the fullest–digging for antiquities, selling soap in the package he designed, and flying around the world on business, which also included tracking down Japanese ikebana baskets, folk art and textiles for the corporation’s art collection.  Then there was the parallel project of amassing of illustrated children’s books from around the world and through time, original artwork, prints, educational toys, and all kinds of other wonderful and surprising things that became the research collection of the Cotsen Children’s Library in Firestone.  Mr. Cotsen’s energy was as legendary as his generosity–not just with money, but with time and most importantly, of himself.

To honor him  as one of the Princeton University Library’s greatest donors, the Friends  have presented to the Cotsen Children’s Library with a magnificent pen-and-ink drawing  by one of Mr. Cotsen’s favorite illustrators, Charles Robinson (1870-1937).

Charles was the son of an artist and his two brothers Thomas Heath and William Heath Robinson were also gifted artists in their own right. Charles illustrated many children’s books, including Aesop’s fables, Mother Goose, the fairy tales of the Brothers Grimm and Hans Christian Anderson, Carroll’s Alice’s Adventures in Wonderland, Frances Hodgson Burnett’s The Secret Garden, and Robert Louis Stevenson’s A Child’s Garden of Verses.  Robinson’s books are well represented in the Cotsen collection along with three picture letters to the daughter of a fellow artist and the finished artwork for two books, Songs of Love and Praise (1907) and The Reign of King Oberon.(1902).


The large drawing the Friends have presented to Cotsen  is signed “Charles Robinson 1916” and mounted on board. It was in a private collection for half a century before being purchased by the Friends.  It is a wonderful example of Robinson’s characteristic attention to layout, framing, and lettering.  Mr. Cotsen was always attracted to pictures of children reading and I’m sure he would have been enchanted by this one of a pretty girl with light shoulder-length hair seated on a divan who has dropped a nursery rhyme picture book on the floor.

Detail of the open book at the girl’s feet. [Pen and ink drawing of reader daydreaming]. [London?]: Charles Robinson, 1916. (Cotsen 7659917)

She seems to be daydreaming and the characters that populate in her mind are projected on the wall behind her.

Detail showing the head of a strange beast with horns concealed in the foliage covering the walls of the castle, and the fair lady watching the progress of the handsome young man on horseback.

For some reason, Robinson decided to redraw the girl’s head on a different paper stock, which was carefully cut out, and pasted over the original one.

The sixty-four dollar question is, was this image ever published?  Was it a design for an annual cover?  A poster?  Where did it appear? Some lucky person will have the fun of discovering more about the creation of this  lovely tribute to children who love stories.

A heartfelt thank you to the Friends for such a thoughtful, appropriate tribute to our founder, whose spirit will always be a source of inspiration and creativity to us at Cotsen.

The Iconography of Fairies: A Field Guide

Lucy Crane, The Baby’s Bouquet: A Fresh Bunch of Old Rhymes and Tunes. Illustrated by Walter Crane. London: George Routledge & Sons, 1878. (Cotsen 21153)

Identifying the fairy in this famous illustration isn’t hard.   This next example isn’t difficult  either…

The fairy Cri-Cri. Fairy Tales, Consisting of Seven Delightful Stories. London: T. Hughes, 1829. (Cotsen 33142)

Don’t be too quick to say there aren’t any fairies in this lovely drawing by William Blake….

Oberon, Titania and Puck with Fairies Dancing c.1786 William Blake 1757-1827 Presented by Alfred A. de Pass in memory of his wife Ethel 1910 http://www.tate.org.uk/art/work/N02686

Did Blake forget to draw the wings on the dancing fairies????   That’s a good question to which I don’t have a definitive answer.  But I think probably not, because eighteenth-century illustrations of fairies rarely have them (I confess I have not done a survey of illustrated editions of Pope’s Rape of the Lock).

Here is the plate illustrating “Peau d’ane” in an edition of Perrault’s Contes from 1798.  The girl with the donkey’s skin thrown over the blue dress must be the heroine, so the fairy has to be the lady in the rose gown with the billowing yellow scarf sitting in a cloud.  When goddesses appear to mortals, they frequently descend in clouds–but fairies?  Yes, they can, to quote Rose Fyleman..

“Peau d’ane,” in Charles Perrault, Contes des Fees. Paris: Chez Devaux, 1798. (Cotsen 60006)

Of course fairies can disguise themselves to test mortals.  In Perrault’s “La fee,”  the girl  sent to the well by her cruel stepmother to draw water for the family pauses to give the poor old woman a drink, when she ought to hurry back home with the full pitcher. The reader can’t tell from this picture what the fairy looks like when she is not undercover as an old woman.  Nor does she reveal her true self later in the tale.

“The Fairy,” Charles Perrault, Histories, or Tales of Passed Times. Third edition, corrected. London: R. Montagu, and J. Pote at Eton, 1742. (Cotsen 25143)

Incidentally, this copy was owned by a Mary Fearman in the 1740s.  She tried to protect her property from the light-fingered by writing a book curse on the rear endpaper…

(Cotsen 25143)

The last item in this identification guide is one of my favorite books in Cotsen.  The frontispiece seems to be a very early picture of tiny wingless fairies dancing in a ring before their king and queen, who are the size of human beings.  The fairies are all wearing brimmed hats with steeple crowns–the kind of hat that witches wear.  Or Mother Goose…

d’Aulnoy, Mme. History of the Tales of the Fairies, Newly Done From the French. London: Eben. Tracy, 1716. (Cotsen 25203)

This translation of a selection of Mme d’Aulnoy’s fairy tales seems to have been someone’s prize possession, perhaps the George Jones who wrote his name in the back of the book.  George (or someone else) tried to copy a portion of the frontispiece on its blank side.

(Cotsen 25203)

He also left traces at the very end of the  book.   The drawing on the top might be his take on a scene in Mme d’ Aulnoy”s “The Blue Bird.”

(Cotsen 25203)

Why did the appearance of fairies change so drastically over time?   Was it the influence of Victorian ballet and theatre productions, where fairies had gauzy wings attached to the shoulders of their costumes?  Perhaps some enterprising fairy tale scholar will concentrate on exploring the history of fairy wings…