Preview — Aesop's Fables by Charles Santore. Aesop's Fables by Charles Santore illustrator ,. More than classic tales by legendary storyteller Aesop have been translated into readable, modern American English, and illustrated with 50 woodcuts by famous 19th-century French artist J.


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Hardcover , 64 pages. To see what your friends thought of this book, please sign up. To ask other readers questions about Aesop's Fables , please sign up. Lists with This Book. The tales, in many cases put animals in human rolls and teach a lesson which is described at the end. All of the tales in this book have animal characters and I think that will draw younger readers to it. I like how at the end of each tale, the overall lesson, or concept is put at the bottom. This is good for younger readers who may not understand the overall lesson that fables tell in each of the stories.

The illustrations are very detailed and really bring the animals to life in the pages. The colors are perfect for a book of fables with more nature centered colors such as browns and greens. This book can be used in the classroom when learning about fables from all over the world. This is just one collection to a wide range of multicultural tales. This would be a book I would read out loud to the class, or for a parent to read out loud, rather then the younger readers on their own.

I think the younger readers need a adult to break down the fables after they are read to find the overall moral. Jan 09, Eric rated it really liked it. Some are quite humourous and most are familiar in one rendition or another. Many are even redundant, but the substitution of new animals and dialogue make them fun again. People often consider this a children's book, however, it is a lot more useful to adults; the moral lessons and implications on life are often deeper than we might perceive at first glance.

Kohl's Cares is currently featuring books illustrated by Charles Santore. I really liked the fables chosen and the way it is summed up with a moral to the story. Sep 19, Rayann Remick rated it really liked it Shelves: Aesop's Fables, an infamous book filled with many folktales, combines humor and fantasy to create a morally enriching classic. Many of the fables introduced were apart of my culture and I already knew them, so I was able to form a connection to the book, as I was able to look back to the time my grandma read a specific fable to me and how it affected me compared to now, as I am much older and wiser.

Most of the fables were fun, and interesting, however, there were a few that didn't make any sens Aesop's Fables, an infamous book filled with many folktales, combines humor and fantasy to create a morally enriching classic. Most of the fables were fun, and interesting, however, there were a few that didn't make any sense or caught my attention. The fables are short, but there is a lesson to be learned from each one. It would be super easy to have this book in a classroom and pull it out to use just one, or a couple, to teach students about the life lessons within this book.

Nov 29, Nik Havert rated it it was amazing. It's beautifully illustrated, and I found some tales I hadn't read before. Nov 30, Kaelin Miller rated it liked it Shelves: I liked reading these fables. They teach a lesson each time so children should read these. They are easy to read so they are children appropriate. Dec 06, Lara Lamb rated it it was amazing. These classic tales have a deep rooted moral story behind them which is great for teaching students about things like being the fastest to finish a task doesn't make them the best.

A beautifully illustrated selection of certain animal-centered Aesop's fables. Three stories with similar motif. The Tortoise and the Hare — Fable — Trickster tale motif It is the classic story told time and time again, the race between a fast and boastful hare and a slow and steady tortoise. The boastful hare challenges anybody to a race.

A tortoise, feeling confident, accepts the challenge. The hare laughs off the tortoise as a challenge but agrees to the race anyways. As the race begins, the hare takes off quickly leaving the ploddi Aesop's Fables. As the race begins, the hare takes off quickly leaving the plodding tortoise way behind. The hare, impressed by his massive lead over the tortoise, takes a rest because he feels that the tortoise is too far behind to even matter. The hare falls asleep, and the slow but steady tortoise continues to plod his way pass the sleeping hare, and eventually to the finish line, beating the hare in the race.

This fable uses a trickster tale motif to convey wisdom and to help explain human nature and human behavior. Persistence is key to winning a race. Steadiness and persistence wins over ego and boastfulness. The mouse begins to climb the Lion and wakes the Lion up. Angry that he has being woken up from his slumber, the Lion catches the Mouse. The Lion, tickled by this offer, agrees to let the mouse go.

Time passes and the Lion is walking through the jungle. The hunter ties the Lion to a tree to find something to carry the large creature away. The Lion thought he was doomed. Then the Mouse, whom the Lion let live, sees the Lion in trouble and begins to chew at the ropes. He chews and chews and chews. After a while, the Mouse is able to free the Lion.

The Lion thanks the Mouse for helping him. This fable uses a trickster tale motif to explain a moral for human nature. No good deed is ever overlooked, no matter how small and small things are capable of doing big things. He passed by an ant working hard and carrying corn to take back to his nest. The ant declined and said that he was working on getting food for the winter and suggested the grasshopper do the same. The ant continued to toil his food back to his nest. The winter came, and grasshopper had no food. He soon died of hunger but saw the ant distributing the corn and grains that were stored from the summer.

This fable uses a trickster tale motif to explain the moral of the story. Planning for the future is always a good idea. Sometimes living for immediate gratification can bring dire consequences. There are many versions for Aesop's fables. This version concentrated on fables involving animals to tell stories and show morals. What separates this book from some other Aesop's fables books are the illustrations used throughout the book. The pictures filled the whole page and you can really tell what the story was about based on some of the pictures.

This is a great children's book. I would recommend it for 3rd to 5th grade readers. This collection of folklore is intended for children ages Each fable is a paragraph or two long with a moral written at the end of it. The moral is generally one to two sentences long, and all of the morals still make sense in today's world.

Each fable is accompanied by an illustration, and the illustrations are bright and vibrant and go well with the fable they are illustrating. I believe that these fables would be very appealing to young readers because they are quick and fun to read. The This collection of folklore is intended for children ages The language is simple without being simplistic, with a few words here and there to challenge younger readers and to help them grow their vocabulary.

The messages within the book are very important, even if they aren't always good. Other messages, like "No act of kindness, no matter how small, is ever wasted," provide a more positive message for young children and a reminder that even small kindnesses are incredibly important. I think that this book would be particularly useful in a classroom of young students because the morals at the end of each story could be discussed among the students. It would be a great way to encourage debate among younger students. Feb 05, Dr. I read the two - this one and the other very similar, but not at the plot level, old book from another old culture - Panchatantra, around the same time, give or take a few years, many decades ago.

Both teach lessons of dealing with the world, how people play games, and so forth. Every child should read them. Especially those that need the skills to defend themselves socially, from those that would play various games to cheat or attack or worse. It might help, for some that can grow out of naivet I read the two - this one and the other very similar, but not at the plot level, old book from another old culture - Panchatantra, around the same time, give or take a few years, many decades ago.

It might help, for some that can grow out of naivete to defend themselves. Then again there might be those that never lose hope that the world is good and noble principles of justice are not to be given up, only to be taken a bite out of by someone who came pretending to be young and innocent and in need, and then bit the hand proffered to feed and help. But of course, one should not lose hope, and perhaps other children might learn to be less naive and better able to defend themselves by learning to understand social games, by reading this book. Sep 23, Mekenna Price rated it it was amazing Shelves: Aesop's fables have been told in many different stories and illustrated in many ways, but some would argue that this version collected by Charles Santore is one of the most impressive and most inspirational.

The lessons are clearly stated at the end of each fable.

Even the fables are easily understood. They are perfect for getting children to understand them. They are written in a dialogue that does not have difficult words to pronounce or words that a child might not understand. The story about Aesop's fables have been told in many different stories and illustrated in many ways, but some would argue that this version collected by Charles Santore is one of the most impressive and most inspirational.

The story about the tortoise and the hare is a classic fable that most people will hear of. It reminds people that "slow and steady wins the race". The illustrations for this particular story were incredible. They portrayed the lesson and the story extremely well. This is just one example of the many lessons that they have included in this amazing book. Charles Santore does a great job providing attention-grabbing artwork to go with these children's stories.

The short stories teach lessons about positive and negative character traits such as hypocrisy, kindness, conceit, contentment, and idleness. Each story ends with a moral. The telling of the fable is straightforward and very effective. The illustrations, colored and black-and-white, are simple and serve the story well. Might there be others in a series with this booklet? Children's Favourite Stories in Pictures. This large-format book is unusual in a number of respects. First, it is one of the very few books I have from Australia. Second, it includes an unusually broad range of material, from Greek myths to Australian aboriginal folklore.

Aesop is given two three-page sections: Three fables are presented on each page with text and illustration equal in size and alternating columns with each other. On 89, the fables switch finally to color. The illustrations of the second set seem to me superior in their artistry; they remind one of Boris Artzybasheff.

Creighton University :: Aesop's Fables: to

The ultimate in cheap books! TH is the last story, with a nice one-colored picture of the hare sleeping in his overalls. Aesop shows up when people put together a simple book for kids. The title on the page tops is Favorite Story Book. Choix de Fables de la Fontaine 1. This is a memorable squarish book, just over 8" and just less than 8" wide. Mallet's work is unique, and that quality makes the book memorable. The illustrations are full-page and in color. Both covers also present full-page colored illustrations. Maybe the best of all these is the back cover's meeting at the doorway of cicada and ant.

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Of course I notice that there are three other members of the series that this booklet belongs to! Choix de Fables de la Fontaine 2. This second booklet in the series of four is another memorable squarish book, just over 8" and just less than 8" wide. In its 24 pages, five fables are illustrated: The back cover is a bonus illustration of the milkmaid dreaming of cows and pigs.

The cover seems to be a melange of fables, including some beyond this book's contents. The illustrations are again full-page and in color. Maybe the best of all these are the climactic scene of FS 15 and the last scene of "The Fox and the Goat" Is the fox thumbing his nose at the goat as he walks away and leaves him stranded?

The frog here seems to have the rat caught with a fishing pole's line, not with a line tied to the legs of both characters. Choix de Fables de la Fontaine 3. This third booklet in the series of four is another memorable squarish book, just over 8" and just less than 8" wide. In its 24 pages, seven fables are illustrated: The first and last views in DW balance each other beautifully to show the turning of tables in this fable.

The back cover is a fine bonus illustration of the fox at the top of a ladder salivating and smelling the grapes which he cannot reach. The cover has the wolf confronting a crying lamb. Choix de Fables de la Fontaine 4. This fourth booklet in the series of four is another memorable squarish book, just over 8" and just less than 8" wide.

In its 24 pages, six fables are illustrated: The front cover's illustration may be the best defined. The two illustrations for TMCM work very well together: Damals Sprachen die Tiere. Colored fifteen and black-and-white fourteen woodcuts alternate as the text works through twelve major fables. I think the colored woodcuts are wonderful! Why should the deer be wounded in the woodcut on 51 for the story "The Friendship of the Animals" 42? Illustrations taken from Buch der Weisheit. DM 29 from Berlin? I will repeat what I wrote there.

Deutsche Fabeln aus dem Jahrhundert von Luther und Lessing. Bearbeitet und Herausgegeben von Dr. Mit Bildern von Max Teschemacher. Here is one of three books in uniform format from Alfo. All have a canvas binding, colored paper covers with a colored illustration at the center, and 32 pages. Here a T of C at the beginning announces fourteen fables. Each fable has a two-page spread. On the left page is a fable from either Luther or Lessing, with a separate, highlighted moral at the end. For Lessing, this highlighted moral is a part of the fable itself.

On the right is a frame of black-and-white designs above and below a colored illustration of the fable. The frames here play with the story in the manner of Rabier, as they do in the La Fontaine volume. I cannot understand the application under FM 7 ; is one man being invited in two different directions?

For LS 8 , Luther uses the proverb "Don't eat cherries with your masters; they throw the pits at you. I only now become aware of Lessing's development of the fable of the dying lion. The horse refuses to take revenge on an enemy that can no longer hurt him I am also delighted with Lessing's development of the fable of the robbed miser. It is not just that he is poorer, but that someone else is that much richer 24!

The image for this fable is particularly well done. Here is a curiosity. This book is exactly identical with another in the collection except for three differences. First, this copy has no title -- and in fact no words at all -- on its cover. Secondly, its title-page does not mention a publisher. The volume to which it is so similar is in a series, and this book shares the characterisics of that series: I thought I recognized this booklet when I found it.

The last illustration may be among the best. Douze Fables de la Fontaine Cover: Fables de la Fontaine. Collection du Jeune Age No. I am tempted to date this book ten years earlier because of the French-German connection of a French publisher printing books in Germany. The cover presents an engaging image of smiling animals grouped around King Lion. Every other page is a strong colored illustration with a line or two of moral.

This is one of very few prose editions of La Fontaine's fables that I have seen. Among the best illustrations are those showing the plaid sox of the fox in FC 7. WL 9 sets the contrast well between the big hunter with pistol and knife in his belt and the skirted lamb with a bouquet in her hands. The tuxedo in fine jacket and vest in FG 21 only stands and looks up. The book was originally sold by Joseph Gibert on the Boulevard St.

A high price for a pamphlet book, but the illustrations make it worth it. They are lovely and well preserved.

Von der Antike bus zur Gegenwart. This page pamphlet is a jewel. It focusses very well on presenting one hundred fable texts for classroom study. Pages give a bit of information about each fabulist, and offer a very brief overview of fable. Other than the beginning T of C, this booklet then is all fables. They are very well chosen! They come from around the world but especially from Germany. I enjoyed trying five new fables. Poggio's 36 tells of a man who wanted to get out of the custom that, when one slaughters a pig in winter, he holds a feast for the whole town.

He goes to an old man and asks him how to do it. The man answers "Just claim tomorrow morning that your pig has been stolen. The next morning, the robbed man comes to the old man and tells him that he has been robbed. The old man congratulates him on making the claim well. The more urgently the fellow tries to tell the truth, the more the old fellow congratulates him on lying well.

Greed and lying punish themselves. Lessing's 58 asks what one should say to poets whose texts seem to fly way over the heads of most of their readers. Perhaps we should say what the nightingale once said to the lark: The gnat, proud to be so feared, pursues the stag but does not notice the lion behind him pursuing the stag too. When the stag finally is caught in the branches of the forest and the lion pounces on him, the gnat tells the lion that he has the gnat to thank for this booty.

The lion does not even glance at him. In Kafka's 85, a mouse has run into walls and then complains about the walls coming together in a corner where there is a trap. Do not miss the seventeen versions of GA in This book is uniform in series with several others I have but they seem to have different bibliographical data, including publisher: Alfo Kunstdruck Verlag in Kaiserslautern. This book has the same canvas binding and the same striped cover format with a picture at the center. Like them, it has 32 pages. There is a beginning T of C with titles for the fourteen fables. Sources are given on the book's last page.

The color work for the fables here is simple and pleasing. Each fable's text is on the left-hand page with a colored illustration on the right-hand page. Above and below the colored illustration are engaging and even humorous sketches of different phases of the fable. The illustration for the latter is typically well done: When the former gets the latter to shut his eyes, he flies away.

Fabeln aus Spanien-Italien und Russland. Mit Bildern von Elsa Schnell-Dittmann. This book belongs to one series that seems a variation of another series. This series is published by Klinke and I now have volumes 6 through This series includes Neuere Deutsche Fabeln and others. Jahrhundert von Luther und Lessing and others. There is even a third series of two books identical with Alfo editions but lacking notice of a publisher.

All three types have the same canvas binding and the same striped cover format with a picture at the center. Volumes in all have 32 pages and fourteen fables. The editor remains the same for all, but illustrators vary within and among the series. In fact, this copy has a gray band apparently pasted on its pink cover; the band announces "Mit Bildern von Elsa Schnell-Dittmann. Might this band be covering indication of a different illustrator?

The color work for the fourteen fables here is simple and pleasing. Below each colored illustration is a simple sketch of a different phase of the fable. The cover illustration, repeated on 21, may be among the best. It presents Leonardo's "The Rock.

Aesop's Fables

There it gets stepped upon and ridden over -- and begins to long to be back where it was. Thus many leave the pleasant life of the countryside to live in the city. A table at the book's end reveals the authors of each fable. Rossi's "The Horse and the Fox" is new to me. The horse beats the bull in a race, and everyone except the fox praises the horse. Bearbeitet und herausgegeben von Dr. Sources are given on the book's last page: Lokman's fables are standard Aesopic tales. Here a Black, named "Ein Mohr," tries to make himself white with snow The illustration interprets this expression more broadly than the text would demand, I believe.

Do not miss the sketch below of the dead ape being carried away by weeping Red Cross apes. The story of the lion, cat, and mouse 12 illustrates well that the servant should not remove the issues that bother his master. For the cat kept the mane-eating mouse away from the lion; once the mouse died, the lion let the cat die too. Both of Saadi's stories condemn the pursuit of wealth. On the left page is a prose fable after Aesop, with a separate, highlighted moral at the end.

The frames here play less than they do in "Fabeln von La Fontaine," but they are still engaging and delightful. Often they present "before or after" material, as on 19, where an eagle carries off a lamb above and children play with a crow below.

This page also presents an excellent coordination of the black-and-white mountain tops with their lower sections in the colored picture. The colored pictures here may be more engaging than those in the La Fontaine volume. The distressed owner being "charmed" by the ass on 5 is well depicted. The illustration for "The Lion and the Man" here shows a drastic result. The lion invited the man to an open place to show him the answer to the tombstone depicting a man overcoming a lion. What we see is the lion standing over a dead and bloody man The full complement of three pictures is well done for the "Chanticleer" story on This book is perfectly identical with another in the collection except for two differences.

First, this copy does not stipulate "Alfo Kunstdruck Verlag" on its title-page. That is particularly curious because no publisher is stipulated anywhere. Like the books in the Alfo Kunstdruck Verlag, this book has a canvas binding, colored paper covers with a colored illustration at the center, and 32 pages. Secondly, this copy lacks pagination. From here on, I will repeat my description of that book. A T of C at the beginning announces fourteen fables.

Fabeln von La Fontaine. On the left page is a verse rendition of La Fontaine. The frame material above and below is like the work of Benjamin Rabier: Thus for the "acorn and pumpkin" philosopher of the first fable, we find a huge pumpkin virtually burying his face. We find rain coming down on the dog forced out of his home, but no rain coming down on the bitch who dispossessed him with her brood For SS, we find two beasts and their owner all streaming water down onto the ground The ox laughing at the frog on 31 looks like he has been copied straight out of Rabier.

The colored pictures insides the frames are good but less spirited. Perhaps the best of them shows the horse kicking the "doctor" wolf who was going to heal his hoof Devised by Powell Perry. Illustrated by Robert P. A Perry Colour Book: The cover image of two mice walking along gives a good example. The images seem to work with four colors: Notice how they work in the title on the cover. Only TMCM gets more than a page. It is at the centerfold, in fact, and it offers several good images of the contrasting mice first pictured on the cover.

I find almost no information about the background of this book. Izrael Publishing House Ltd.. Karlinsky, Jerusalem, through eBay, Sept. This book has pages that seem close to mimeograph quality in their mix of cartoon characters and contemporary Hebrew texts.

Interspersed with these numbered pages are full-page sepia illustrations. The covers are marbled brown boards, with a canvas spine. I count some one-hundred-and-ten fables. In fact, there are only a few fables here that are not readily recognizable. I enjoy particularly the figure that retrieves the woodcutter's axe from the river on Another good set of illustrations shows the malicious cat gossiping with the eagle on 42 and with the pig on Again here, as in another recent book of Jewish fables, the stork or crane is matched not with a wolf but with a lion Fables choisies de Florian et d'Esope.

This book is largely internally identical with another, which I have listed under "? This copy has a fox and a dog on its cover, and it acknowledges both Florian and Aesop on the cover. This is a puzzling publication because it combines two books with minimal integration. That minimum lies in the cover that announces both. One opens to "Fables de Florian. The titles of the fables are done in a a kind of script that seems partially italic and partially handwritten. It also has something against capital letters. Every few pages there is a full-page illustration that uses several colors.

I am increasingly sure that I have seen these illustrations before. Most dramatic of the colored illustrations for Florian is the monkey hawking his circus act before the animals. The act will be with the magic lantern. One of the most pleasing illustrations is the full-page polychrome illustration of Renard preaching, with spectacles and all. The title-page for "Fables d'Esope" has a hedgehog playing something like a clarinet as he is carried on the back of a rooster. It sometimes happens in either book that an illustration will just precede its story.

The book has a canvas binding. Fables Choisies de La Fontaine. Illustrations apparently by F. This is a brochure of ten pages, starting from the front inside-cover and reaching to the back inside-cover. Here the cover presents a good compilation of stories, including MM, TH, OF; the whole is marred slightly by some white crayoning. Is this the same composite picture I noted in that other edition?

The first full-color illustration goes to TH and features pictures of a seated bunny pulling petals off of a flower and of a tortoise standing expectantly with an arm around the finishing pole marked by two radishes. Further full-color illustrations include a two-page spread for MM and one page for OF. There is one last smaller image of MM on the back cover. I think I will be finding more of these heavy-paper, large-format pamphlets of La Fontaine every time I get back to Paris.

A number of them seem to have been done by Touret. This one has a small mark at the lower left on the front cover: This is actually two page books put together, each with its own pagination. The binding seems to be staples and canvas. The fables of Florian are presented in a surprising manner, in that a reader is never quite sure what is coming next; it may be a simple text, a full-page illustration, or a design. Pagination begins with the title-page, which includes a simple illustration of a rabbit and a duck.

One of the first full-page illustrations, which includes several colors, occurs before its story, so that one needs to turn the page to find the story.


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This is "The Blind Man and the Paralytic" Next comes a two-page illustration for "Magic Lantern," followed by its text. The first volume ends with "The Cat and the Rats," first text and then, on a new page facing the beginning of Volume II, a full-page illustration of several colors. The two-page illustration at the center of the second volume is "The Two Lions. If I were more excited about the fables of Florian, I might be more excited about the simple illustrations here. The best of them is perhaps the cover's scene of handing out bags of money. The back cover labels this as "Editions Bias No.

Fables de La Fontaine. Avec des gravures sur bois de Virgil Solis. Three things distinguish this collection of fables: There is a T of C after This is a large-format pamphlet of twenty-four pages. For the nine fables that are here, there are eight black-and-white illustrations and two colored illustrations. They are playful children's illustrations.

Perhaps the best two are the colored illustrations for "Le Savetier et le Financier" Here is a quintessentially ephemeral pamphlet! It is crumbling in my hand. Its cover pictures a donkey weeping. Does it ever become clear why he is weeping? This large-format book admits no illustrator, date, place, or publisher. Its spine is giving way, and the covers are torn. Many of the pages inside have monochrome illustrations.

Some reader has added his or her own colorings at various points and with various levels of skill. One of the major glories of this collection is to snatch objects like this from destruction! On the title-page, the unsuspecting hare and weasel approach the happy cat. Every page has the same pair of border-columns displaying nine animals each. Sometimes these columns are colored in monochrome, sometimes not.

The order of fables seems to be hopelessly confused here. MSA is announced and begun only some pages later. FK suffers the same fate of being split up into pieces. It may, however, provide the most dramatic illustration, namely of the stork devouring a frog. Another strong illustration features the crow rejected by crows after he has tried to be a peacock.

The final image, of the cat capturing the two litigants pictured on the title-page, is very dramatic. This is one of several publications probably stemming from Gordinne, a publication house that existed between and I would enjoy sometime looking through them all together. For this publication, I have learned that an illustrator whose signature I have earlier misunderstood is really Etienne LeRallic.

Inside are several stories including multiple illustrations. Some of them, surprisingly, are fully colored. The cover of the whole booklet is a bonanza of colored images brought together: The back cover is plain. The four "title-pages" combine a number of images. The first two booklets are illustrated entirely by Etienne LeRallic. The third segment is completely the work of "THomen" or perhaps "Theomen. The fourth segment is entirely by a J. This fourth "title-page" is subtler, but various fables are still to be found around the dominating figure of the milkmaid.

This book has a number of similarities with others in the family of Gordinne. I am lucky to have found so many publications in this one family. Illustrated by Raoul Thomen. As I wrote there, I would love to have a chance to gather the various similar and related publications of fables around in the same family. As I wrote there, the illustrations here are the work of, I believe, Raoul Thomen, who died in It closes with a dramatic image on the back cover of FG.

Fables de La Fontaine: Le Lion et Le Rat. Among Liozu's illustrations, I would give the prize to the colored cover illustration of "Two Goats. There is significant water damage along the spine. Liozu seems to have been active as an artist for ephemeral books between and I am happy that this collection can save a fragile ephemeral object like this pamphlet! Fables from Aesop And Others. Translation of Sir Roger L'Estrange. Blackie's English Texts, Edited by W.

A small book with oilcloth covers, with a green and gray pastoral illustration on the front cover. The life of Aesop, which takes up the first forty pages, seems only slightly revised and expurgated. Some of L'Estrange's fables are chosen; to judge from my best L'Estrange source, Gooden , the fable renditions are faithful to L'Estrange, except that they do not present morals or reflections. What a wonderful little gift! Cover illustration signed "Fortunato Julian.

This is a tidy little canvas-bound primary school book of pages. A T of C at the end indicates the fables here in nine books. There are occasional designs before and after the fables. The lively cover in gold, red, blue, and green features a butterfly, snail, and rose. It at least is signed by Fortunato Julian, who may also have done the interior designs. Story by Edith Berbach. Though the art has him throwing away the hatchet, the written version has him killing her. In Bildern Gezeichnet von Otto Speckter.

Hey is not mentioned. After a simple title-page, a single page lists all one hundred fables in two columns. The texts seem to be the standard Hey texts throughout. The illustrations seem identical with those in the "? Thus the crow of the first fable looks right but the image has a less extensive background than that found, e. The snowman on 3 stands up straight and is attacked by three children, but he has less of a scowl and more of a belt than the snowman in that Perthes edition.

The script is Roman throughout. The book has marbled covers with a canvas binding. The paper is quite brittle. DM 6 from Talstrasse, Leipzig, August, ' This is almost exactly a paperbound version of the hardbound, canvas-spined book I have listed under the same year by the same publisher.

I find only four differences between the two books. The first difference is that between hardbound and paperback. The second lies in this edition's mention of Wilhelm Hey as author on the title-page, although he is not mentioned on the book's cover. The third difference lies in the clarity of the illustrations, which is far inferior in this edition.

The illustrations here are over-inked, dark, and heavy. Might that have to do with the number of books printed? For the fourth difference lies in the notice that this printing started after eleven thousand books had been printed and went until sixty-seven thousand were printed, whereas the hardbound book is among the first eleven thousand. Let me mention at least some of my comments from that edition. These illustrations seem identical with those in the "? Edition de L'Office Central de l'Imagerie. Here is an ingenious piece of ephemera.


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One opens a brochure somewhat smaller than 10" x 4". As one opens, scenes open and succeed each other, each with a portion of La Fontaine's "Fox and Crow" on a facing text page. There are two double panels, five single panels, and a final double panel. The first double panel opens a curtain on a crow with a piece of cheese perched in a tree. The second double panel first shows a fox approaching and then, as one opens further, shows him beneath the crow. The first single panel has the crow holding the cheese high.

In the next, the cheese is out of the crow's beak, and the tongue is out of the fox's mouth! The next panel shows tears -- or saliva? One more panel shows the fox holding the cheese below an expressionless crow. In the final single panel, the fox is exiting, and the crow seems to be reading a bible on his branch. The last double panel provides a curtain call for the two characters.

The fun lies in folding open one panel at a time and finding the appropriate verses and scene. Lovely use of red, brown, black, and green. I am not sure whether to list this lovely piece as a book or a brochure , so I will do both! This sturdy hardbound book is about as standard as it gets. The pleasant additions here to the usual book of La Fontaine's fables include a reproduction of Chauveau's WC on the orange cloth cover and eight full-page black-and-white illustrations before the frontispiece and title-page.

There are of course notes at the back, a life of La Fontaine, and an Avant-Propos. I am not sure as I write when or why I bought this book. Fables Choisies, Volume I. Goldsmith's Music Shop Language Department. Here is the simplest of materials: The pages are typewritten and apparently mimeographed or offset. The back cover advertises the other three volumes in the series of La Fontaine's fables. There are no surprises here, at least none that I can uncover.

Le Renard et le Corbeau. Ouen flea market, Paris, August, ' The first, third and fifth pair present colored full-page illustrations of the chronology of the story. The second and fourth pair present text of the following verses of the song, which runs on to a thirteenth verse. The last page presents a moral. In this version of the story, the crow keeps climbing higher up, branch to branch. I cannot understand how the crow can talk extensively with the cheese in his beak before singing and thus losing the cheese. The moral is "Don't love cheese too much or talk while you are eating"!

Quantin advertises on the last page seven full series of booklets like this one. This present volume is the only fable in the whole group. Le singe et Le chat. Here is a curious find rediscovered eight years after I purchased it. I do not know if it should be considered a book. On a stiff board cover one finds a drawing -- hand drawing or printed? I wish I could discover more and may still as I go through old notes and receipts. Les Fables de Florian. I tried a quick search to see when Artima flourished.

Dupuich even did some art work for at least one of these. I am guessing that this volume comes from the earlier years, between Artima's founding in and its comics years. This is a particularly clean large-format book of 32 pages. The title-page, like the cover, gives a visualization of the fables that appear here. The illustrations for "Dog and Cat" are a good, lively example of the enjoyable illustrations here Les Fables de La Fontaine: Ouen, Paris, August, ' The good luck of finding a complete two-volume set of these albums has led me to include this set among the books of the collection, while another complete set remains among the objects.

Here ninety numbered cards are pasted in around La Fontaine's text. Each fable has six colored cartoon-cards, except for the centerpiece, "Les Animaux Malades de la Peste," which has twelve cards. The animals are dressed and playful. The exploding frog makes a "pouf" sound The fish rejected by the picky heron wear women's hats 68! The inside of the back cover gives a history of chocolate. Of course, in this history Jean-Antoine Brutus Menier stands out. This album's cover gathers many fable characters in a park setting, with pond and bridge.

This album is in fair condition. Here numbered cards are pasted in around La Fontaine's text. The cartoons remain delightfully Disneyesque. I enjoy the fat weasel who cannot get back out through the hole through which she entered In this book, the number of cards per fable and their sizes vary from presentation to presentation. The images of the beetle hammering eggs and throwing eggs out of the nest are wonderful! The pages here have subtle images of the appropriate fable done in light brown ink behind the black ink of the text.

The front cover of the work features a bear watching TT and a coach and fly. A fox, rabbit, and tree are fellow spectators. The back cover has many animals either carrying Menier chcolate products or admiring a young woman painting a bilboard for Menier chocolates. On the last page, one reads how to get cards from the Menier Company. One gets a desired card by sending in three others! With this system, Menier could have gone on forever sending people the cards they needed! Translated from the French by Catherine E. Created, Designed and Executed by Homer H. Original engravings by Aegidius Sadeler.

Essay by Rupert Hughes. This volume presents fourteen two-page spreads with the same elements in each spread. Underneath distinct headers for both pages English on the left page and French on the right , there is first on the left a short prose text with a tan-and-black initial. Each sentence end is marked by either of two small tan floral symbols. At the bottom of the left page is a moral in tan. On the right page is a large reproduction of the original engraving, with the original French version of the moral beneath it. The English moral on the left turns out to be a translation of this French moral.

The fables thus presented include: The fox, being pursued, convinces the dog that the hare will make a better meal. In the latter, the hare runs through the fence to escape the leopard, who promptly jumps over the fence and devours him. The moral for FK is especially good: The original was done at the printing shop of Claude Cramoisy.

Do not miss the pre-title-page reproduction, perhaps from the original title-page? The illustrations seem to rely heavily, to Sadeler's credit, on De Dene and Gheeraerts. For this fancy a product, the research and the credits are poorly done. For example, would the French of have been "medieval"? Some indication of the artist would have been called for. One can find Sadeler's own mark on the bottom of the pre-title-page. Les Fables du Sanglier. Here are forty-three lively fables, each with a full-page black-and-white illustration.

Thus in FC, the old crow kills itself and drops down dead trying to live up to the fox's praise The fox helped up a tree by the goat gets left there in a fork of the branches The old cat is fooling the mice by claiming blindness--until a dog shows up and everybody escapes quickly I enjoy the wit here. I cannot find a way to date this book. Les Meilleures Fables de Florian. La Technique du Livre.

I regret that it has taken me two-and-a-half years to catalogue this lovely pamphlet. Its 32 pages contain some fifteen fables. Every fable has an illustration. All but two of these are delightful polychromatics. Two near the beginning and two near the end are black-and-white. The monkey with his lantern is in many colors in a paste-down illustration on the cover. The same picture is rendered in black-and-white on the title-page. Then on the pamphlet's last page the monkey bids us farewell.

His fable appears with yet another colored illustration near the middle of the pamphlet. The paper is heavy and the polychromatic illustrations have the consistency of our old "transfer" images. After the cover illustration, the illustration for "Le Crocodile et l'Esturgeon" may be the most successful. Notice the uneven paper cutting at the bottom of the text page facing this illustration.

Verse texts from La Fontaine. I am grateful for Ebay; otherwise I am not sure how I would find a pretty book like this that must be rare in the United States! Little Stories from Aesop. Printed in Great Britain. This booklet presents eight fables, seven of them each illustrated by a full-color page and by one-to-several other black-and-white designs. As far as I can tell without the other Rountree editions at hand, the illustrations here come from the Children's Press tradition rather than from the Ward and Lock tradition.

To my knowledge, none of the illustrations is new. The booklet may have been published up to twenty-eight years earlier than my estimate. Little Tales from Aesop. Groves, London, through Ebay, Nov. This is a large sixteen-page landscape-formatted pamphlet with various kinds of illustrations for its thirteen fables. There is a strange monochrome illustration of GA in the second half of the pamphlet. This booklet is fragile! I had never seen it before. My First Book of Fables. Illustrated by Arthur Mansbridge. The sharpest illustration in this book is that of GGE on the title page.

The others tend to lack sharpness. Ten fables, many in verse, with explicit morals marked as such. Each page is framed with a colored edge in one of three patterns with designs in either black or white. There are some unusual--and mostly disappointing--features in the versions here.

In CP, can the "tiniest drop" get "up to the brink"? In GGE, the intervention comes, at the wife's insistence, after only one egg has been produced. In TH, the hare takes a nap as in La Fontaine before he starts the race. The illustrations for "The Bundle of Sticks" are placed in China. In FC, the crow speaks once with the cheese in his beak before he breaks forth in song and loses it; how can that happen? In TB, one illustration shows the man carrying a lute for some reason standing face-to-face with the bear.

Another has the bear still in sight after the tree-climber has come back down, in direct contradiction to the text. Did Mansbridge read the story? Despite all of that, the pictures give the book a charm of its own. My Picture Book of Aesop's Fables. Stories Retold and Illustrated by Violet M. Large-format children's book with identical covers of paper over boards. The characters here are universally cute and cuddly. The animals are dressed in human garb. The characters are named e. Beef in DS and the versions longer than in most versions.

In MSA a mouse carries the donkey's tail while father and son carry him on the pole. The colors of the cover-picture here are not calibrated: The editor remains the same. The title-page declares that this is "Band 6" but I am not sure yet what series it belongs to. There is a T of C with titles but no authors at the beginning. The color work for the fourteen fables here is simple and very pleasing. Each fable's text is on the left-hand page with a colored illustration on the right-hand page and underneath it a simple sketch, often of a different phase of the fable. The best of the illustrations may be "Der Esel und die Dohle" on 7; it is the illustration that is less successful on the cover.

This series is published by Klinke and includes "Neuere Deutsche Fabeln" and others. Jahrhundert von Luther und Lessing" and others. Both series have the same canvas binding and the same striped cover format with a picture at the center. Volumes in both have 32 pages and fourteen fables. The editor remains the same for both, but illustrators vary within and between the two series. The title-page declares that this is "Band The best of the illustrations may be "Der Affe und das Pferd" 19 ; this illustration is also used on the cover.

Since this book gives their birth date but no death date, I may have to revise by perhaps ten years my estimate that this book -- and perhaps this series -- were done in Now or seems more accurate. Illustriert von Max Teschemacher. Here is our tenth book in uniform format, most of them from Alfo and all of them edited by Jakob Szliska. Like the others, this book has a canvas binding, a colored paper cover with a colored illustration at the center, and 32 pages.

On the left page is a fable; on the right a triple illustration. I enjoy Gay's fable of the pig which, following his master's instructions, ate not the tulips but their roots 4. The illustration here is typical, with a good colored picture balanced above by a black-and-white drawing of the pig and master on good terms and, below, of the master beating the pig, which still has a plant in its mouth. The black-and-white designs above the colored pictures often give a before and those below an after for the central scene pictured in color.

Also good is Baron von Holberg's fable of the sick wolf who hired an ass doctor, deteriorated, and sued the ass. The court rejected his suit, since he was silly enough to employ a doctor who was an ass Again, a hare seeks a post with King Lion and asks his friends, the goose and the fox, to offer recommendations.

The goose recommends him for his understanding and the fox for his honesty.