Class Notes: 250 Years of Fairy Tales in Print

Professor Mark Ilsemann recently brought his class, German 3590: Special Topics–Fairy Tales, to Special Collections to see materials related to the European fairy-tale tradition. He asked if we could “give my students an idea about early collections of tales and the formation of ‘fairy tale’ as a genre; teach them about the importance/style of illustrations and other forms of book art; show them how fairy tale collections were ‘framed’ by their respective authors (through frontispieces, opening remarks, etc.); and to demonstrate to students the importance of the book object and of working with historical artifacts.”

Oh yeah, we could do that. Little did he know the extent of the riches at our disposal.

A selection of fairy tales (Photograph by Molly Schwartzburg)

A selection of fairy tale editions, anthologies, recordings, toys, and even finger puppets! (Photograph by Molly Schwartzburg)

Curator Molly Schwartzburg wowed his class with an eclectic selection of some of the fascinating and visually stunning fairy tales that comprise our collections. In turn, Professor Ilsemann provided a great deal of insight on the history of fairy-tale publishing, and his students jumped in with comments based on the knowledge they’ve gained so far this semester. As is often the case, we wondered if we gained even more from the session than our visitors!

Professor Ilsemann explains the likely origins of this unusual and beautiful moveable book. He noticed that the publisher was associated with the Waldorf School movement, based in Stuttgart, where the book was published. The book’s flowing text and images, seem to echo the Waldorf philosophy, which requires that classrooms contain no right angles. (PZ34 .S358 1926. Henry S. Gordon Fund, 2009/2010. Photograph by Petrina Jackson)

Professor Ilsemann explains the likely origins of this unusual and beautiful moveable book. He noticed that the publisher was associated with the Waldorf School movement, based in Stuttgart, where the book was published. The book’s flowing text and images seem to echo the Waldorf philosophy, which requires that classrooms contain no right angles. Hilde Langen, Schneewittchen (Stuttgart: Waldorf-Spielzeug & Verlad G.m.b.H., 1926). (PZ34 .S358 1926. Henry S. Gordon Fund, 2009/2010. Photograph by Petrina Jackson)

Many of the items we discussed were from Special Collections’s remarkable Little Red Riding Hood Collection, generously donated in 2007 by collector Martha Orr Davenport.  The collection comprises approximately 480 books, a hundred pieces of print ephemera, fifty works of art, ten magic lantern slides, and more than a hundred objects, including tableware, figurines, vases, pottery, puppets, recordings, and more.

Detail of items from the Little Red Riding Hood Collection (Gift of Martha Orr Davenport. Photograph by Petrina Jackson)

Just a few of the items in our Little Red Riding Hood Collection. (Gift of Martha Orr Davenport. Photograph by Petrina Jackson)

The students also were drawn in by several fabulous pop-up books from the Brenda Foreman Collection of Pop-Up and Moveable Books.

Molly and the students take a closer look at pop-up books. (Photograph by Petrina Jackson)

Molly and the students take a closer look at pop-up books. (Photograph by Petrina Jackson)

Hansel and Gretel from the "Pop-Up" Cinderella and Other Tales with illustrations by Harold B. Lentz, 1933.  (PZ92 .F6 L46 1933b. Brenda Forman Collection of Pop-Up and Moveable Books. Photograph by Petrina Jackson)

Hansel and Gretel from Harold P. Lentz’s  “Pop-Up” Cinderella and Other Tales, 1933. (PZ92 .F6 L46 1933b. Brenda Forman Collection of Pop-Up and Moveable Books. Photograph by Petrina Jackson)

Perhaps a student paper or two about these magical books will be in hand by the semester’s end, inspired by this wonderful introduction!

ABCs of Special Collections: L is for…

And we are back with the letter:

Jack London's signature, highlighting the letter "L" in his last name. Letter to Max Feckler from Jack London, October 26, 1914

Jack London’s signature, highlighting the letter “L” in his last name. The signature is from his letter to Max Feckler, October 26, 1914 (MSS 6240. Clifton Waller Barrett Library of American Literature. Image by Caroline Newcomb)

L is for James Laughlin
While studying poetry with Ezra Pound in Italy, the poet told him, “You’re never going to be any good as a poet. Why don’t you take up something useful?” Laughlin returned to Harvard in 1936, and founded New Directions, a publishing enterprise he started in his dorm room with help from his family’s fortune. New Directions evolved into a highly prestigious avant-garde press, publishing works by Gertrude Stein, William Carlos Williams, James Joyce, Ezra Pound, Elizabeth Bishop, and many others. Laughlin did manage to publish a number of books of his own poetry, as well. An author search of our online catalog shows 35 hits related to Mr. Laughlin, and over 500 for New Directions publications. The press is still in operation today.

Contributed by George Riser, Collections and Instruction Assistant

James Laughlin Selected Poems, 1935–1985.’ City Light Books, 1986. (PS3523. A8245A6 1986. Marvin Tatum Collection of Contemporary Literature. Image by Caroline Newcomb)

James Laughlin Selected Poems, 1935–1985.’ City Light Books, 1986. (PS3523. A8245A6 1986. Marvin Tatum Collection of Contemporary Literature. Image by Caroline Newcomb)

Henry Miller’s The Cosmological Eye. New Directions, 1939. The eye in the cloud is James Laughlin’s left eye. (PS3525 I5454 C6. Clifton Waller Barrett Library of American Literature. Image by Caroline Newcomb)

Henry Miller’s The Cosmological Eye. New Directions, 1939. The eye in the cloud is James Laughlin’s left eye. (PS3525 I5454 C6. Clifton Waller Barrett Library of American Literature. Image by Caroline Newcomb)

L is for Little Red Riding Hood
In 2007, Special Collections received as a gift from Martha Orr Davenport her marvelous collection of books and artifacts related to the tale of Little Red Riding Hood.  There are approximately  480 books, 100 pieces of print ephemera, 50 works of art, ten magic lantern slides, and  more than a hundred objects, including tableware, figurines, vases, pottery, tiles, crystal, glass, cloth, dolls, puppets, tinware, prints, and recordings.

Contributed by Molly Schwartzburg, Curator

Clockwise from top left, these Reds Riding Hoods appear in the following books, which are not yet cataloged: "Little Red Riding Hood, (London: Tuck, [1890]); "Les Contes de Perrault" (Paris: Librairie de Theodore Lefevre, n.d.); "Walter Crane's Toy Books: Little Red Riding Hood" ([London]: George Routledge, n.d.); "Rotkappchen" (n.p: n.p., n.d.). [xx(6134166.1). Photograph collage by Molly Schwartzburg]

Clockwise from top left, these Reds Riding Hoods appear in the following books, which are not yet cataloged: “Little Red Riding Hood, (London: Tuck, [1890]); “Les Contes de Perrault” (Paris: Librairie de Theodore Lefevre, n.d.); “Walter Crane’s Toy Books: Little Red Riding Hood” ([London]: George Routledge, n.d.); “Rotkappchen” (n.p: n.p., n.d.). [xx(6134166.1). Photograph collage by Molly Schwartzburg]

Clockwise from top left, these wolves appear in the following books, which are not yet cataloged: "Rotkappchen" (n.p: n.p., n.d.); "Tales of Passed Times Written for Children by Mr. Perrault and Newly Decorated by John Austen" (London: Selwyn and Bount, 1922);  "Little Red Riding Hood, (London: Tuck, [1890]); "Walter Crane's Toy Books: Little Red Riding Hood" ([London]: George Routledge, n.d.).

Clockwise from top left, these wolves appear in the following books, which are not yet cataloged: “Rotkappchen” (n.p: n.p., n.d.); “Tales of Passed Times Written for Children by Mr. Perrault and Newly Decorated by John Austen” (London: Selwyn and Bount, 1922);  “Little Red Riding Hood, (London: Tuck, [1890]); “Walter Crane’s Toy Books: Little Red Riding Hood” ([London]: George Routledge, n.d.). [xx(6134166.1). Photograph collage by Molly Schwartzburg]

L is for Jack London
In our collections are some notable items of the American author Jack London (1876-1916), who is best known for his book, The Call of the Wild and the short story, “To Build A Fire.” Among our materials are the typescript of his novel, The Sea Wolf, with his handwritten corrections, and two boxes of lively letters, illustrating the nature of his life as an adventurer and writer. This letter to a young man who has sent London a copy of his story is harsh but humorous, but in the end, offers good advice for a burgeoning writer. He ends with an invitation to visit him in California, “on the ranch.”

Contributed by Anne Causey, Public Services Assistant

Signed photograph of Jack London, ca.1907-1908, , box 2, folder 39 Photo taken on board the Snark, the sailboat upon which he cruised the South Pacific for 27 months with his wife Charmian. (MSS 6240. Clifton Waller Barrett Library of American Literature. Image by Caroline Newcomb)

Signed photograph of Jack London, ca.1907-1908. Photo taken on board the Snark, the sailboat upon which he cruised the South Pacific for 27 months with his wife Charmian. (MSS 6240. Clifton Waller Barrett Library of American Literature. Image by Caroline Newcomb)

Typescript of Jack London's The Sea Wolf with autograph corrections, page

Typescript of Jack London’s The Sea Wolf with autograph corrections, page 136. (MSS 6240. Clifton Waller Barrett Library of American Literature. Image by Caroline Newcomb)

Letter to Max Feckler, October 26, 1914, MSS 6240, box 2, folder23 This letter shows the lively tone of many of London's letters, although this one is much longer, more detailed and more impassioned. Here, he is advising a young writer to improve his skill and learn the market before he sends out a story.

Letter to Max Feckler from Jack London, October 26, 1914. This letter shows the lively tone of many of London’s letters, although this one is much longer, more detailed and more impassioned. Here, he is advising a young writer to improve his skill and learn the market before he sends out a story. (MSS 6240. Clifton Waller Barrett Library of American Literature. Image by Caroline Newcomb)

(MSS 6240. Clifton Waller Barrett Library of American Literature. Image by Caroline Newcomb)

Page 2 of letter to Max Feckler from Jack London, October 26, 1914. (MSS 6240. Clifton Waller Barrett Library of American Literature. Image by Caroline Newcomb)

From “L” to “M,” see what our next letter selections will be in a couple of weeks when the ABCs of Special Collections continues.