Exhibition Labels - Harry Ransom Center

Exhibition Labels - Harry Ransom Center

 Alice Text Panels A Golden Afternoon Charles Dodgson began to tell the story of a little girl named Alice on an outing with Alice, Edith, and Lorina Liddell on July 4, 1862. He later recalled that “golden afternoon” in a poem that prefaces many editions of Alice’s Adventures in Wonderland. All in the golden afternoon Full leisurely we glide; For both our oars, with little skill, By little arms are plied, While little hands make vain pretence Our wanderings to guide…. Imperious Prima flashes forth Her edict “to begin it”: In gentler tones Secunda hopes “There will be nonsense in it!” While Tertia interrupts the tale Not more than once a minute…. Thus grew the tale of Wonderland: Thus slowly, one by one, Its quaint events were hammered out— And now the tale is done, And home we steer, a merry crew, Beneath the setting sun…. Alice! A childish story take, And with a gentle hand, Lay it where Childhood’s dreams are twined In Memory’s mystic band, Like pilgrim’s wither’d wreath of flowers Pluck’d in a far-­‐off land. Alice Pleasance Liddell (1852–1934) Alice Liddell was born on May 4, 1852 in London. Alice and her family, including her brother Harry and sisters Lorina and Edith, moved to Oxford in 1855 when her father was appointed Dean of Christ Church at Oxford. She first met Charles Dodgson in April 1856 when she was almost four years old. Dodgson spent time with the children telling them stories, making puzzles, and going on outings. On one of these outings in July 1862, Dodgson began the story that became Alice’s Adventures in Wonderland. In addition to Alice, the story contains references to Edith (the Eaglet) and Lorina, called Ina (the Lory). During the following year, there was a rift between Dodgson and the Liddell family and he rarely spent time with Alice or her siblings. Nevertheless, Dodgson continued his work on the story for Alice and presented her with the manuscript of Alice’s Adventures Under Ground when she was 12. Like other girls of her social class, Alice did not receive an education outside her home. Her governess, Miss Prickett, taught her lessons, as did other teachers in specialized subjects. Alice also met with notable figures of her day. She took art lessons from John Ruskin. She was photographed by Julia Margaret Cameron. She knew Prince Leopold, the youngest son of Queen Victoria, who acted as godfather to Alice’s second son, his namesake. Alice lived at her family’s home until the age of 28, when she married Reginald Hargreaves with whom she had three sons. Two of her sons died fighting in World War I. Alice Liddell Hargreaves retained the manuscript of Alice’s Adventures Under Ground until 1928 when financial pressures encouraged her to sell it at auction. She died in 1934. Charles Lutwidge Dodgson (1832–1898) The man who became famous as Lewis Carroll was born Charles Lutwidge Dodgson in 1832. His father was a clergyman educated at Oxford. Dodgson, the third of 11 siblings, grew up in northern England surrounded by his brothers and sisters. Together they put on plays and created family publications like the Rectory Magazine, on display in the exhibition. At an early age, Dodgson showed a talent for math and logic. In 1851, Charles left his family’s home for Oxford where he remained for the rest of his life. He became a deacon in the Anglican Church, but never pursued the priesthood. Dodgson never married and did not have any children. Throughout his life, he maintained friendships with the children of his friends and colleagues. He wrote letters to and photographed his young friends, always with the permission of their parents. In 1856, Dodgson befriended the children of Henry Liddell, his new dean at Christ Church, Oxford. He took them on outings—eventually taking the trip on July 4, 1862, on which he began the tale that would become Alice’s Adventures in Wonderland. Encouraged by friends, Dodgson developed his Alice story into a book and funded its publication. He used the pseudonym Lewis Carroll to maintain his privacy. Though he is best known today for Alice’s Adventures in Wonderland and Through the Looking-­‐Glass, or What Alice Found There (1871), Dodgson was an accomplished photographer, mathematician, and logician. He published in the fields of math and logic even as he continued to write stories for children under the name Lewis Carroll. Dodgson died in 1898, thirteen days before his 66th birthday. John Tenniel (1820–1914) John Tenniel had already made a name for himself as a political cartoonist and book illustrator when Lewis Carroll asked him to create the illustrations for Alice’s Adventures in Wonderland. Tenniel was hesitant, but Carroll convinced him to accept the job. Though scholars have suggested the relationship between Carroll and Tenniel was sometimes contentious, the partnership produced the best-­‐known work of each of their respective careers. Tenniel shared his first illustration for Alice’s Adventures in Wonderland with Carroll in October 1864 and had finalized forty-­‐two illustrations by mid-­‐1865. As he had done with Alice, Tenniel hesitated when Carroll asked him to create the illustrations for Through the Looking-­‐Glass, but again Dodgson’s persistence prevailed. It took Tenniel almost two years longer than he had originally estimated to complete the illustrations for Looking-­‐Glass. Tenniel’s last collaboration with Carroll was to oversee the hand coloring of twenty of Tenniel’s original illustrations for The Nursery Alice, a version of the story for younger children. Today, Tenniel’s illustrations remain the best-­‐known visual representations of Alice and Wonderland. Alice’s Adventures Under Ground More than two years after he first told the story of Alice on the “golden afternoon,” Lewis Carroll presented Alice Liddell with a handwritten and illustrated edition of Alice’s Adventures Under Ground. Alice’s Adventures Under Ground will be familiar to readers of Alice’s Adventures in Wonderland, though it lacks characters like the Mad Hatter and Cheshire Cat that have become synonymous with the story. Though Carroll recognized his own illustrations as inadequate for a published edition, many of them served as the basis for John Tenniel’s illustrations. Alice Liddell loaned the manuscript back to Carroll in 1885 for the publication of a facsimile edition. She kept it until 1928 when challenging financial conditions prompted her to sell the manuscript at auction. It was purchased for £15,400 by an American book dealer, Lessing Rosenbach, who then sold the book to Eldridge Johnson, founder of the Victor Talking-­‐Machine Company. Following Johnson’s death in 1946, the manuscript came back on the market. Again, it was purchased by Rosenbach, and, in 1948, a group of Americans bought the manuscript and presented it to Britain as a gift in appreciation of the country’s courage during World War II. Today, Alice’s Adventures Under Ground resides at the British Library, which has digitized the manuscript in its entirety. Use the touchscreen below to explore Carroll’s original version. The First Editions of Alice’s Adventures in Wonderland When Lewis Carroll shared the first edition of Alice’s Adventures in Wonderland with John Tenniel, Tenniel was dismayed at the quality of the printing of the illustrations. He found them to be inconsistent, with some rendered too heavily and others too lightly. Carroll discussed his options with his publisher, ultimately deciding to have a new printer, Richard Clay, reprint the entire book. Carroll had, however, already sent out gift copies of the first printing—which he now attempted to get back. He sent at least thirty-­‐four of these returned gift copies to charitable institutions, including children’s hospitals. Today, fewer than twenty-­‐five copies of this first edition are known to have survived. One of these, from the Ransom Center’s collection, is located in this case. The edition printed by Richard Clay, the first one publicly available for sale, appeared in November 1865, though the date on the title page is 1866. The adjacent reproductions of the illustrations from both editions allow for comparison of the printing. The rejected sheets from the first printing, those that Tenniel declared inadequate, were sold to the New York publisher Appleton and Co. Thus, the first U.S. edition of Alice, published in May 1866, includes the “suppressed” sheets from what would have been the first British edition. Both Carroll and Tenniel were comfortable with an American edition featuring substandard printing. {the following text panels with question marks will be under a vinyl header reading “What is a…..”} Dodo? The dodo, a flightless bird found on the island of Mauritius in the Indian Ocean, was extinct by the end of the 1600s. Scientists speculate that a combination of hunting by sailors and the destruction of the dodos’ habitat led to its extinction. Carroll and the Liddell sisters visited the Oxford University Museum of Natural History, which exhibited the dried head and foot of a dodo along with a 1651 painting of a dodo by Jan Savery. Critics have asserted that the Dodo represents Lewis Carroll, an assertion that seems confirmed by Carroll’s inscription to “The Duck from the Dodo” in a presentation copy of Alice for his friend Robinson Duckworth. However, the claim that Carroll chose the “Dodo” because it mimicked the sound of his stammer when saying the “do” sound in his real last name, “Dodgson,” seems somewhat unlikely. As biographer Jenny Woolf has noted, Carroll had a stammer, rather than a stutter, so his difficulty in speaking the beginning sounds of words resulted in an extended initial sound, not a repetition of the initial syllable “do.” [March Hare and Mad Hatter go on same text panel] Mad Hatter? A hatter is someone who makes and sells hats. The phrase “mad as a hatter” was already widely used in England when Lewis Carroll created his character. One theory about the origin of this term is that hatters were exposed to significant amounts of mercury, which was then used in the production of felt. Over time, mercury exposure could cause dementia, or “madness.” Scholars have also speculated that Carroll’s Hatter was inspired by a local furniture dealer, Theophilus Carter, whom Oxford residents called the “Mad Hatter” because he wore a top hat on the back of his head. Carter’s contemporaries claimed he was the spitting image of the Mad Hatter of Tenniel’s illustrations. The Hatter, one of the most memorable characters in Alice’s Adventures in Wonderland, was not included in Carroll’s original story for Alice Liddell, Alice’s Adventures Under Ground. He is one of the few characters who also appeared in the sequel, Through the Looking-­‐Glass, and What Alice Found There. The Hatter was further popularized in the memorable tea party scene from the 1951 Disney film Alice in Wonderland. Though the “un-­‐birthday” song in this film was based on a reference in Through The Looking-­‐Glass, it has no connection with the Hatter in Carroll’s stories. and March Hare? References to the odd behavior of hares during the month of March date back to the sixteenth century. “Mad as a March hare,” was a common phrase and familiar to Carroll’s readers. Before she meets the March Hare, Alice speculates, “perhaps as this is May it won’t be raving mad—at least not so mad as it was in March.” Mock Turtle? Then the queen left off, quite out of breath, and said to Alice, “Have you seen the Mock Turtle yet?” “No,” said Alice. “I don’t even know what a Mock Turtle is.” “It’s the thing Mock Turtle soup is made from,” said the queen. In England, beginning in the mid-­‐1700s, mock turtle soup became a popular, cheaper alternative to green turtle soup. Mock turtle soup used calves’ heads and feet to mimic the taste and texture of turtle meat. One of England’s major importers of turtles, T. K. Bellis, also sold packaged “Mock Turtle Meat.” The soup became popular in America as well, with both Heinz and Campbell’s Soups selling canned mock turtle soup in the twentieth century. When Tenniel drew the Mock Turtle, he envisioned a creature with a turtle’s shell, but with the head, tail, and feet of a calf. Subsequent illustrators followed Tenniel’s lead, as did the costume designer for the 1933 film adaptation of Alice’s Adventures in Wonderland, in which Cary Grant played the Mock Turtle. The reference to mock turtle soup would have been familiar to Victorian readers and was compounded in the Mock Turtle’s final scene, as he “in a voice choked with sobs,” sings a song called “Turtle Soup” with these lyrics: Beautiful Soup, so rich and green, Waiting in a hot tureen! Who for such dainties would not stoop? Soup of the evening, beautiful Soup! Soup of the evening, beautiful Soup! Quadrille? A quadrille is an intricate dance, performed by four couples in a square. At the time that Carroll wrote Alice’s Adventures in Wonderland, this dance was very popular in England and composers wrote music specifically for it. The “Punch and Judy Quadrille” shown here dates to 1863. A quadrille is composed of five parts, or figures. Each figure consists of a particular arrangement of the dancers and a series of steps. Carroll refers to the “advance” and “set to partners.” As couples approach each other, they are described as “advancing.” When partners face each other, take steps to the right, steps back to the left, and turn around in place, this is called “set to partners.” In Alice’s Adventures in Wonderland, the Mock Turtle and the Gryphon introduce Alice to the “delightful” spectacle of a lobster quadrille. They explain: “Why,” said the Gryphon, “you first form into a line along the sea-­‐shore—” “Two lines!” cried the Mock Turtle. “Seals, turtles, salmon, and so on; then, when you've cleared all the jelly-­‐fish out of the way—” “THAT generally takes some time,” interrupted the Gryphon. “—you advance twice—” “Each with a lobster as a partner!” cried the Gryphon. “Of course,” the Mock Turtle said: “advance twice, set to partners—” “—change lobsters, and retire in same order,” continued the Gryphon. “Then, you know,” the Mock Turtle went on, “you throw the—” “The lobsters!” shouted the Gryphon, with a bound into the air. “—as far out to sea as you can—” “Swim after them!” screamed the Gryphon. “Turn a somersault in the sea!” cried the Mock Turtle, capering wildly about. “Back to land again, and that's all the first figure,” said the Mock Turtle… Understanding the complexity of the quadrille, with its prescribed moves for all dancers, helps modern readers understand the absurdity that Carroll intended in describing this fanciful dance among sea creatures. 150 Years of Alice Though John Tenniel’s illustrations remain the most popular visual representations of Alice’s Adventures in Wonderland, countless illustrators have offered new interpretations. Without copyright protection in the United States, the first proliferation of new Alice illustration emerged in America. The first major outpouring of new editions in Britain began in 1907, when the British copyright expired. In 1907 and 1908, several new British editions appeared, most notably those by Arthur Rackham and Charles Robinson. Over the decades, illustrators have reimagined Alice in their own times. In 1929, Willy Pogany offered readers a flapper-­‐influenced Alice, with bobbed hair and without the signature pinafore of Tenniel’s illustration. Beyond Tenniel, the next most influential depiction of Alice appeared initially on film, in Walt Disney’s 1951 animated Alice in Wonderland. The film and accompanying books helped establish a new visual representation of Alice, though one with many of the signature features of Tenniel’s original. Disney’s Alice also was inspired by the work of artist Mary Blair, who also worked on Cinderella and, later, Peter Pan. Alice Around the World In the year following the publication of Alice’s Adventures in Wonderland, Lewis Carroll encouraged his publisher to pursue both French and German translations of the work. Carroll realized that his wordplay and extensive use of puns and parodies would make translation a difficult task. The German and French translations appeared in 1869. Carroll read and commented on both of these translations while in production. He encouraged translators to keep young readers in mind. Both translators substituted parodies of French and German poems and songs in place of those Carroll used, in an effort to retain the effect of Carroll’s wordplay. As Alice has been translated and re-­‐translated, generations of scholars have tried new approaches to capturing the spirit of Carroll’s classic. Vladimir Nabokov translated the work into Russian using an approach that at times offered a literal translation but more frequently replaced Carroll’s references with those that would be more compelling to Russian readers. Salvador Oliva, who translated Alice into Catalan in 1996, described choosing between rhyme and content in reproducing the poem “Father William” this way: “The fundamental aspect for me is rhyme. Without rhyme, the poem of Father William would lose all its effect. The translator has to alter its meaning. It is unavoidable.” Warren Weaver, a mathematician and Carroll collector and scholar whose collection resides at the Ransom Center, published one of the first major books about Alice in translation, Alice in Many Tongues, in 1964. At the time he documented translations into more than forty languages. Today that number approaches one hundred. Translating Nonsense Alice’s Adventures in Wonderland and its sequel, Through the Looking-­‐Glass, and What Alice Found There, are both examples of literary nonsense. Carroll plays with language to create sentences and poems that have no real meaning—though they sound like they should. Carroll’s use of nonsense makes translating Alice into another language incredibly difficult. Consider the first stanza of the nonsense poem “Jabberwocky” from Through the Looking-­‐
Glass: ‘Twas brillig, and the slithy toves Did gyre and gimble in the wabe; All mimsy were the borogoves, And the mome raths outgrabe. How would you translate Carroll’s invented, or “nonce”, words into another language if they have no real meaning? Here are two Spanish translations; the first is by Adolfo de Alba and the second by Erwin Brea: Era la asarvesperia y los flexilimosos toves 'Era brilligio, y los rebalosioso mocasos giroscopiaban taledrando en el vade; Giraban y Girareon en las ondabolsciabo: debilmiseros estaban los borogoves; Todo debilirana estaban las ramianandos bramatchisilban los verdilechos parde. Y los momiasera ratianeras fuerandabando. The first translation retains some of Carroll’s invented words “toves” and “borogoves,” though the pronunciation of those words varies from English to Spanish. The translations vary significantly and suggest the challenges and acts of interpretation required of any translator of the Alice stories. Twinkle, Twinkle, Little Bat! Carroll parodies popular children’s poems and songs throughout Alice’s Adventures in Wonderland. Many of these parodies are lost on modern readers who are unfamiliar with the source texts Carroll used. The first of these appears as Alice is puzzling about who she is, shortly after falling down the rabbit hole. Instead of reciting Isaac Watts’s poem, “Against Idleness and Mischief,” How doth the little busy bee Improve each shining hour, And gather honey all the day From every opening flower! How skillfully she builds her cell! How neat she spreads the wax! And labours had to store it well With the sweet food she makes. Alice finds herself reciting: How doth the little crocodile Improve his shining tail, And pour the waters of the Nile One every Golden scale! How cheerfully he seems to grin, How neatly he spreads his claws, And welcomes little fishes in, With gently smiling jaws! In this and many of the other parodies in Alice, Carroll either removes or subverts the moral lesson intended in the original. He replaces it with its opposite meaning or with nonsense—offering no moral lesson at all. This practice reflects Carroll’s larger effort throughout Alice’s Adventures in Wonderland to parody and satirize polite Victorian society and the expectations of Victorian children’s literature. A Mad Tea Party Spanish artist Salvador Dalí (1904–1989) was in his sixties when he produced this series of illustrations for a special edition of Alice’s Adventures in Wonderland in 1969. The edition featured twelve illustrations and one original etching. The dream world of Wonderland was ideal subject matter for the surrealist artist, perhaps best known for his painting of melting clocks, The Persistence of Memory (1931). Long before Dalí painted Alice, French writers Louis Aragon (1897–1982) and André Breton (1896–1966) claimed Carroll’s work as surrealist. They appreciated Carroll’s subversion of the proper adult Victorian world. British surrealists also claimed Carroll as an intellectual forebear. Carroll’s work continues to inspire artists working in the surrealist tradition. Maggie Taylor (b. 1961), a photographer and digital artist whose work is featured at the conclusion of the exhibition, used digital technology to created surrealist photomontages for her 2008 edition of Alice’s Adventures in Wonderland. Critical Response Most of the initial British reviews of Alice’s Adventures in Wonderland were positive, praising both Carroll’s writing and Tenniel’s illustration. In December 1865, The Publisher’s Circular noted, “Among the two hundred books for children which have been sent to us this year, the most original and most charming is Alice’s Adventures in Wonderland.” By the turn of the twentieth century, Alice’s Adventures in Wonderland was an acknowledged classic. A 1918 review in the American Journal of Education noted, “The child who does not make the acquaintance of the immortal Alice and her Wonderland friends misses not only a real joy but also a necessary preparation for the understanding of many allusions in his later reading.” What critics could not agree upon was the best age at which to read the book. A 1911 review suggested it was appropriate for “lower school grades and, of course, for the nursery shelf.” Over the next decades educators would recommend Alice as reading for grade levels ranging from third to sixth. By 1969, however, an American Library Association reviewer claimed, “The story is a horror tale, not recommended for children, but should delight the discriminating adult.” Today, Scholastic Books recommends Alice’s Adventures in Wonderland for readers in grades two to five, while another educational firm suggests the book for high school readers. Alice on Stage Though a “fanciful, spectacular, and musical entertainment” called Alice’s Adventures; or The Queen of Hearts and the Missing Tarts opened in London in 1876, the first major stage production of Alice was performed at the Prince of Wales Theatre on December 23, 1886. Carroll was involved with the writing and development of the show, and he supplied additional content for it. The production, “a musical dream play,” was called Alice in Wonderland and combined elements of both Alice’s Adventures in Wonderland and Through the Looking-­‐Glass. The play was revived nineteen times in London between 1888 and 1930. New stage adaptations continued to appear, with Eva La Gallienne and Florida Friebus’s Alice in Wonderland appearing on Broadway in 1933 and subsequently revived at regional theaters throughout the United States. Alice remains a popular play for school groups and other amateur performers. Alice on Screen Like many stage productions, film adaptations of Lewis Carroll’s Alice stories often included material from both Alice’s Adventures in Wonderland and Through the Looking-­‐
Glass. The first of these, the British silent film Alice in Wonderland, debuted in 1903. Countless film and television versions have followed. The 1933 American film adaptation, also called Alice in Wonderland, featured an all-­‐star cast including Gary Cooper as the White Knight, W. C. Fields as Humpty-­‐Dumpty, Cary Grant as the Mock Turtle, and Jack Oakie as Tweedledum. The New York Times praised the film as “a marvel of camera magic and staging” and singled out William Cameron Menzies, the art director, as one who “never disappoints,” even as it was critical of many of the individual performances. Animator Walt Disney had been intrigued by Alice since the 1920s. His early films included an Alice series in which a live action actress called Alice finds herself in an animated wonderland. Disney wanted to make a feature-­‐length film, but found it difficult to bring Carroll’s word play to the screen in a coherent narrative. After several attempts, the film finally was completed in 1951. Disney promoted the film as the next in a series about great literary heroines that he had brought to the screen, including Snow White and Cinderella. The movie, however, was not a great box office success. The New York Times offered this assessment: What we are saying is simply that Mr. Disney has plunged into [Carroll’s] work… has snatched favorite characters from them, whipped them up as colorful cartoons, thrown them together willy-­‐nilly with small regard for sequence of episodes, expanded and worked up new business, scattered a batch of songs throughout and brought it all forth in Technicolor as a whopping-­‐big Disney cartoon. The most recent major film featuring Alice appeared in 2010. Directed by Tim Burton and starring Johnny Depp, the film was not an adaptation of Carroll’s stories, but an extension of them—following a nineteen-­‐year-­‐old Alice on her return to Wonderland. Curiouser and Curiouser! Just as Alice had proved appealing for adaptation on screen and on stage, so too did Carroll’s story appeal to the creators of various forms of visual and audio entertainment. During Carroll’s lifetime, he authorized the adaptation of Alice into magic lantern slides. Though invented centuries earlier, the magic lantern reached the height of its popularity as a form of entertainment in the Victorian period. Presenters, at public presentations and in private homes, projected slides and read an accompanying script. In the 1930s a new technology, the Movie-­‐Jecktor, allowed families to project paper filmstrips at home. Among the first filmstrips Movie-­‐Jecktor offered were two featuring Alice. The View-­‐Master, a new technology based on the nineteenth-­‐century stereoscopic viewer, appeared in 1939 and was soon followed by an Alice View-­‐Master disc. The View-­‐Master was initially conceived for viewers of all ages, though today it is marketed primarily to children. Marketers of audio technologies also found Alice’s Adventures in Wonderland a compelling source. As vinyl records became widely available, publishers began offering recordings of classic works, including the Alice stories. Today, these tactile audio-­‐visual technologies largely have been supplanted by digital forms. Through a New Lens Alice’s Adventures in Wonderland continues to inspire visual artists including photographers Abelardo Morell (b. 1948) and Maggie Taylor (b. 1961). Their integration of photography with Carroll’s story is a particularly apt tribute to Carroll, one of the most important amateur photographers of his era. When photographer Abelardo Morell set out to illustrate Alice’s Adventures in Wonderland, he used books as objects to shape the landscape of the story. He explained, “Because books belong to both the physical and imaginary worlds, I thought they might serve Lewis Carroll’s tale well. Traveling to Wonderland could seem, after all, to be an experience very much like that of walking across the pages of a story—like going deep into a book.” His photographs engage Carroll’s work and Tenniel’s original illustrations in inventive and engaging ways. Maggie Taylor, a photographer and digital artist, uses Adobe Photoshop to create surreal photomontages. In her 2008 version of Alice’s Adventures in Wonderland, Taylor layers elements of nineteenth-­‐century photographs and objects with contemporary images. For Taylor, “The computer helps me bridge the gap between my fantasy and the real world.” Taylor’s integration of Victorian elements and modern digital technology is a fitting conclusion to an exhibition tracing 150 years of Carroll’s story. Reading Alice We hope the exhibition has inspired you to read or re-­‐read Alice’s Adventures in Wonderland. When you have finished, please return your book to the shelf for the next reader. For the youngest visitors: Alice in Wonderland, A Colors Primer by Jennifer Adams For young readers: Jabberwocky illustrated by Christopher Myers The Nursery Alice by Lewis Carroll The Other Alice by Christina Björk and Inga-­‐Karin Eriksson For the visually inclined: Alice’s Adventures in Wonderland illustrated by Maggie Taylor Alice’s Adventures in Wonderland with artwork by Yayoi Kusama For the historically minded: Alice’s Adventures Under Ground by Lewis Carroll The Annotated Alice with introduction and notes by Martin Gardner If you would like to continue reading at home, Alice’s Adventures in Wonderland is readily available in a number of free digital formats online. The Warren Weaver Collection of Charles L. Dodgson Warren Weaver (1894–1978) was a mathematician and scientist who oversaw the natural sciences programs at the Rockefeller Foundation for nearly thirty years. He began collecting works by and about Lewis Carroll after ordering a math book by Charles Dodgson and discovering, much to his surprise, that it was a presentation copy inscribed by the author. As his interest in Carroll grew, he began to acquire translations, aided by his travel with and contacts through the Rockefeller Foundation. Weaver also began collecting important English editions, ultimately acquiring a rare copy of the “suppressed” first edition. At the time of the Ransom Center’s acquisition of the collection in 1969, it was accompanied by a card catalog of 1,500 cards, many representing multiple items. Weaver continued to donate Carroll items to the Ransom Center for the rest of his life. Writing of this gift, Weaver explained, “For this entire collection is now the property of the University of Texas at Austin and is handsomely housed there. So warm and friendly has been her welcome there, that I am entirely confident that Alice will be comfortable and happy in Texas.” The Byron W. Sewell and Susan Rafferty Sewell Collection of Lewis Carroll Byron and Susan Sewell placed their Lewis Carroll materials at the Ransom Center in 1984. Their collection was an extraordinary complement to the Warren Weaver collection and reaffirmed the Center as an important destination for scholars studying Lewis Carroll. The Sewell collection is expansive and includes early editions, Alice comic books, translations, ephemera, and other popular cultural representations of Carroll’s stories. Among the many works in the Sewell collection are a number of parodies that use the Alice stories to lampoon social and political events. These works from the first and second world wars use Alice to try to make sense of upended societies and war-­‐time regulation. Political pundits and cartoonists today continue to evoke Alice and the other characters in Wonderland. As the Tea Party has gained prominence on the American political scene, references to Alice’s “Mad Tea Party” have increased as well. Text Panels for Kids These panels will be found throughout the exhibition and speak to a younger audience The White Rabbit In Alice’s Adventures in Wonderland, the White Rabbit leads Alice down the rabbit hole. She follows the rabbit throughout the story from one adventure to the next. The White Rabbit will be your guide through the exhibition. As you travel from section to section, answer the question or find the item on your stamp card. When you have completed each task, stamp your card with the White Rabbit’s paw print. When you have filled your stamp card, take it to the visitor services desk in the lobby for an Alice’s Adventures in Wonderland activity book. The Victorian Era Charles Dodgson and Alice Liddell lived during a period in England’s history now known as the Victorian era. It is named for Queen Victoria, who was Queen of England from 1837 to 1901. The Victorian era was a period of great industrial and economic growth and expansion of the British Empire. Alice’s Adventures in Wonderland was published in England in 1865, before the invention of telephones (1876) or cars (1886) and before electricity was widely available in homes. In the United States, Alice’s Adventures in Wonderland was first published in May 1866, about one year after the end of the American Civil War. The New Art of Photography Today, we can take pictures very easily and see them instantly. When Alice Liddell was a little girl, most families did not own cameras and photography was not a part of daily family life at all. Photography was a much more complex process, usually undertaken by professional photographers in their studios Charles Dodgson used a camera and tripod very similar to the one behind you. Depending on the available light, Alice had to sit very still for 20 to 60 seconds while Dodgson took the picture. If she moved at all, the photograph would be blurry. Alice would not have been able to see the photograph right away. Dodgson would have to take the glass negative back to his studio to develop it and then print the picture. Imagine posing for a portrait in 1858. Can you stand still for 30 seconds without moving at all? Is it easier if you are standing or sitting? If you would like to learn more about the invention of photography, visit the earliest known surviving photograph made in a camera on display in the Ransom Center’s lobby. Pen Name A pen name or “pseudonym” is used by an author who wants to hide his or her real identity. Charles Dodgson used the pen name “Lewis Carroll” when he published Alice’s Adventures in Wonderland. Dodgson did not want to be recognized as the author of Alice. Dodgson had already used the pseudonym Lewis Carroll before he wrote Alice. A publisher had chosen it from a list of possible pen names including Edgar Cuthwellis, Edgar U. C. Westhill, and Louis Carroll. Writers continue to use pen names. Dr. Seuss is the pen name of Theodore Geisel. One of the most popular children’s writers today, Lemony Snicket, is the pen name of writer Daniel Handler. If you were to choose a pen name for yourself, what would it be? Surrealism These illustrations were made by the artist Salvador Dalí (1904–1989). Dalí was a surrealist. Surrealists used their art to explore the world of dreams and the subconscious, or hidden parts of the mind. In 1931, Dalí painted one of the best-­‐known surrealist works, The Persistence of Memory, which depicted clocks that appeared to be melting. Dalí used some of the same imagery in his illustrations for Alice’s Adventures in Wonderland. At the end of Alice’s Adventures in Wonderland, Alice wakes up to discover that her adventures were only a dream. Do Dalí’s illustrations help you imagine Alice’s adventures as part of a dream? Compare Dalí’s illustrations to others you have seen in the exhibition. How are they different? How are they the same? Parody A parody is a song, poem, movie, or other work of art that uses imitation to mock, or make fun of, the original. When you create a parody, you create a new version of something that already exists. It could be new lyrics to an old song or new words to a familiar poem. Lewis Carroll sometimes used parody to make fun of popular children’s poems that were intended to teach children important moral lessons. His parodies were silly and nonsensical versions of serious poems. Other times, Carroll used parody to show how “mad” and confusing Wonderland was, as he did at the Mad Tea Party, when the Hatter sings, Twinkle, twinkle, little bat! How I wonder what you’re at! Up above the world you fly Like a tea-­‐tray in the sky. Do you know what song Carroll is parodying here? Do you know any other parodies? Do You Judge a Book by Its Cover? They say “you can’t judge a book by its cover,” but that is exactly what many of us do when we choose a book to read. When you go to the library, how do you choose a book? Does the cover help you decide? Even though every book in this section of the exhibition contains the same story, Alice’s Adventures in Wonderland, their covers are very different. Publishers create these different covers to try to appeal to as many readers as possible. Which cover makes you most want to read the book? Why? [ACTIVITY CENTER] The Mouse’s Tale Lewis Carroll first wrote the “mouse’s tale” in 1862 as part of the story that he gave to Alice Liddell. It is a story, or tale, told by the mouse, but it is also in the shape of a mouse’s tail. Carroll continued to change the mouse’s tale and other parts of Alice’s story over the years. At least 15 different versions of the mouse’s tale appeared throughout Carroll’s lifetime. Use a sheet of paper to write your own shape poem. You can write your own version of the mouse’s tale. Is your mouse’s tale a sad or happy story? Or, try another animal. What would a pig’s tale look like? A horse’s tale? Alice Tall, Alice Small Alice changes size twelve times during Alice’s Adventures in Wonderland. She becomes taller than a tree and as small as a mouse. When Alice grows tall after eating a small currant cake, she grows to “rather more than nine feet high.” That is even taller than this wall! When Alice speaks to the Dodo, we can estimate that she is smaller than three feet tall, because that is the average height of a dodo. Now it is your turn to estimate Alice’s size using the other objects and characters in John Tenniel’s illustrations to help you. [The following will be found on the tables of the activity center and tea party rather than on the walls] Mad Hatter and White Rabbit Tangrams Lewis Carroll was interested in math and logic in all its forms. He reportedly enjoyed tangrams, or seven-­‐piece puzzles (consisting of one square, five triangles, and one parallelogram) that could be used to create other shapes. These tangrams were inspired by the characters of the Mad Hatter and the White Rabbit. Try to make the White Rabbit or the Mad Hatter or other shapes from Alice’s Adventures in Wonderland, like the Cheshire Cat and teapot below, or create new shapes on your own. [possible to add tangram shape illustrations on this page? If so, cat from here: http://www.cimt.plymouth.ac.uk/resources/puzzles/tangrams/tangint.htm and teapot here: http://www.oocities.org/it/tangmath/convexHull.gif ] 64=65 Lewis Carroll was a mathematician who worked throughout his life to make math and logic interesting to children. One example of Carroll’s attempts is the math puzzle 64=65, located in a case at the beginning of the exhibition. Carroll created the puzzle with small pieces of paper and stored it in an envelope—most likely as a game for one of his child friends. We have created a larger version to help you try to solve the mystery of how 64 square units appears to equal 65 square units. First, assemble the pieces to form a square, and then rearrange the pieces to make a rectangle. Does 64=65? It cannot be true. So take a closer look at the pieces. Look carefully at the angles of the cuts and how they match up together—or do they? Is there an extra square unit hiding in the spaces? Have you solved the mystery of 64=65? Origami White Rabbit Origami, or paper folding, was a popular activity for children in Victorian England. Lewis Carroll enjoyed origami and often folded paper boats for his young friends. John Tenniel included two folded paper hats in his illustrations for Through the Looking-­‐Glass. The White Rabbit has guided you through the exhibition. Now you can create an origami White Rabbit to take home with you. [can folding instructions be included on this panel, if so, they are located here: http://www.colorcutandcreate.com/printables/origami_rabbitface.jpg ] Dalí’s Tea Party Enjoy a tea party while looking at the art of Salvador Dalí. Dalí was a surrealist who tried to paint the world of dreams and the hidden mind. While you sip your tea, look at the illustrations that Dalí created and try to find: Alice (in each illustration) The White Rabbit The Caterpillar Teacups and a teapot What else do you see? What do you think Alice is holding? Alice Labels Lewis Carroll (Charles Lutwidge Dodgson) (British, 1832–1898) Alice Liddell, 1860 Enlarged reproduction Lewis Carroll Album II, M.L. Parrish Collection of Victorian Novelists (C0171) Manuscripts Division, Department of Rare Books and Special Collections Permission courtesy Princeton University Library [1] The publisher’s dummy of Charles Dodgson’s Euclid and His Modern Rivals, 1879 Interior page is a digital reproduction Charles Dodgson published Euclid and His Modern Rivals in 1879. The book is a comparative assessment of modern geometry textbooks in light of Euclid’s classic 13-­‐book treatise Elements. This copy is a publisher’s dummy, used to show an author what a book would look like before the printing and binding was complete. Like most publisher’s dummies, this book contains only a few pages of printed text. Dodgson used the remaining blank pages for notes on formal logic. His notes range from 1886 to 1894. [2] Charles Dodgson’s 64=65, a puzzle, undated This mathematical puzzle was typical of those Charles Dodgson created for his young friends. Dodgson was enthusiastic about developing engaging ways to teach mathematical concepts to boys and girls. The pieces here begin in a square with an area of 64 square units but can be rearranged to construct a rectangle with an apparent area of 65 square units. Visit the activity center to experiment with a larger model of Dodgson’s 64=65 puzzle. [3] Lewis Carroll’s Doublets, A Word-­‐Puzzle (London: MacMillan and Co., 1879) Interior page is a digital reproduction Charles Dodgson, who published puzzles under the pen name Lewis Carroll, first devised the game of doublets for Vanity Fair, which called the puzzles “so entirely novel and…. so interesting.” Carroll outlined the rules of Doublets: “Two words are proposed, of the same length; and the Puzzle consists in linking these together by interposing other words, each of which shall differ from the next in one letter only.” As an example he offered: HEAD HEAL TEAL TELL TALL TAIL [4] Charles Dodgson’s commonplace book, undated Interior page is a digital reproduction Victorians recorded bits of useful or interesting information in commonplace books. Unlike a journal or diary that would be used to record daily events, a commonplace book was used to document recipes, letters, poems, or other information. Among the notations in Carroll’s commonplace book are a listing of the letters of the English alphabet in order of the frequency of their use, the publication date of the first issue of Punch magazine, a drawing of the Cretan Labyrinth, and a selection of Chinese characters. [5] A letter from Charles Dodgson to Edith Argles, dated April 29, 1868 Pages 2 and 3 are digital reproductions Dodgson was an active correspondent and frequently wrote letters to young friends. These letters often included games and puzzles. In this letter to 15-­‐year-­‐old Edith Argles, he includes a cipher, or code, to amuse Edith and her younger sister Dolly. [6] Charles Dodgson’s handwritten poem “Once upon a time….” and accompanying illustrations, undated Dodgson’s poem and illustrations were likely created for one of his young friends. The poem follows a group of sailors in search of a mermaid. The full poem consists of seven sections, each with a corresponding illustration, and concludes with the sailors trying to lure three mermaids into a box provided to them by David Jones. [7] Lewis Carroll (Charles Lutwidge Dodgson) (British, 1832–1898) Feeding the Lamb, not dated Pen and ink [8] Lewis Carroll (Charles Lutwidge Dodgson) (British, 1832–1898) The Foolish Miller, not dated Pen and ink [9] Lewis Carroll (Charles Lutwidge Dodgson) (British, 1832–1898) [untitled drawing of a boy boxing with a cat], not dated Pen and ink [10] Lewis Carroll (Charles Lutwidge Dodgson) (British, 1832–1898) [untitled drawing of a young girl], not dated Pen and ink [11] The Rectory Magazine, Being a Compendium of the best tales, poems, essays, pictures & c that the united talents of the Rectory inhabitants can produce, edited and printed by Charles Dodgson, 1850 Interior pages are digital reproductions Charles Dodgson and his siblings produced a number of family publications including this magazine, named for their home in Croft-­‐on-­‐Tees. Dodgson’s father was an Archdeacon in the Church of England and lived in a rectory or a residence for the parish clergyman. This edition of The Rectory Magazine includes essays, poems, and short stories, as well as hand-­‐drawn and colored illustrations. The sense of humor and parody that appear in much of his later work is already evident in The Rectory Magazine, produced when Charles was 18 years old. Turn the pages of a digital version of The Rectory Magazine on the touchscreen. [13] Lucien Besche’s costume designs for Alice in Wonderland: A Musical Dream Play, in Two Acts, for Children and Others, ca. 1886 Lucien Besche, an artist known for his portraits and book and magazine illustration, designed these costumes for the first major stage adaptation of Alice’s Adventures in Wonderland and Through the Looking-­‐Glass. The production premiered on December 23, 1886. Besche used John Tenniel’s illustrations as his inspiration. A summary of the production that appeared in Dramatic Notes, a Year-­‐Book of the Stage, noted, “the dresses designed by Lucien Besche [were] charming in richness and harmony of color.” [14] Lewis Carroll’s Alice’s Adventures in Wonderland, illustrated by Charles Robinson (London: Cassell, 1907) Charles Robinson (1870–1937) was among the first illustrators to offer a new interpretation of Alice’s Adventures in Wonderland when its British copyright expired. He had previously illustrated other children’s books including Robert Louis Stevenson’s A Child’s Garden of Verses. Robinson updated Alice’s style of dress and replaced her long blond hair with short brown hair. [15] Lewis Carroll’s Alice’s Adventures in Wonderland, illustrated by Arthur Rackham (London: W. Heinemann, 1907), number 495 of a limited edition of 1,130 Arthur Rackham (1867–1939) became known as one of the premier artists of the “golden age” of British book illustration. He produced the illustrations for Alice about ten years into his illustration career, and the work features his characteristic muted palette. Like most subsequent Alice illustrators, Rackham found his work judged against John Tenniel’s originals. One such review from 1908 is typical: “Mr. Rackham is among the cleverest, daintiest and most fanciful of our illustrators, and his taste in colour carries off the variations on Tenniel’s inventions, which form the full-­‐page plates. When restricted to black-­‐and-­‐white, the draughtsmen meet on even ground, and the younger one is hopelessly beaten: there is no disguising it.” In 1908, Rackham’s illustrations for Alice were exhibited at the Leicester Galleries in London. [16] Lewis Carroll’s Alice in Wonderland, illustrated by Mabel Lucie Attwell (London: Raphael Tuck & Sons, 1910) Mabel Lucie Attwell (1879–1964) began work as a magazine illustrator before transitioning to book illustration. Attwell’s edition, which adopted a shortened version of the title, Alice in Wonderland, appeared before the British illustrator developed the rosy-­‐
cheeked toddlers that dominated her later work. Attwell’s Alice has golden hair and a more contemporary style of dress without a pinafore. [17] Lewis Carroll’s Alice’s Adventures in Wonderland, illustrated by A. E. Jackson (New York: George H. Doran Company, 1914) A. E. Jackson (1873–1952) was a British book illustrator known today for his work on Robinson Crusoe, Gulliver’s Travels, and Water Babies. Jackson’s Alice, with long braided hair and bare knees continued the tradition of updating Alice with contemporary clothing. [18] Lewis Carroll’s Alice’s Adventures in Wonderland; and Through the Looking-­‐Glass, illustrated by Milo Winter (Chicago, Rand, McNally & Company, 1916) American illustrator Milo Winter (1888–1956) worked frequently with Rand, McNally & Company to produce illustrated children’s books including Arabian Nights, Gulliver’s Travels, and Treasure Island. Winter’s Alice with a headband, long hair and flowing dress has, at times, a pre-­‐Raphaelite quality. [19] Lewis Carroll’s Alice’s Adventures in Wonderland, illustrated by Margaret Tarrant (London: Ward, Lock & Co., 1916) British illustrator Margaret Tarrant (1888–1959) was a frequent illustrator of children’s books and became best known for her drawings and paintings of fairies and children. Her work was influenced by the Arts and Craft and Art Noveau movements. Tarrant’s Alice shares some characteristics with Milo Winter’s including a similar headband. The influence of Art Nouveau is apparent in the glass table that Alice attempts to ascend. [20] Lewis Carroll’s Alice in Wonderland and Through the Looking Glass, illustrated by Gertrude Welling (New York: J. H. Sears & Co., Inc., 1926) For this combined edition of Alice and Looking-­‐Glass, illustrator Gertrude Welling created a series of six graphic frames that surround the text on each page. The frames appear in a repeated sequence throughout both stories, thus illustrations from Alice appear adjacent to text from Looking-­‐Glass and vice versa. [21] Lewis Carroll’s Alice’s Adventures in Wonderland, illustrated by Willy Pogany (New York: E. P. Dutton, 1929) Interior pages are digital reproductions Hungarian-­‐born Vilmos Andreas Pogány published under the name Willy Pogany after moving to London and later to the United States. In addition to having an extensive career in book illustration, Pogany designed sets and costumes for the theater and served as an art director for Hollywood films. Pogany’s Alice is a product of 1920s America, with bobbed hair, a deep side part, and a very short plaid skirt. [22] Lewis Carroll’s Alice in Wonderland, illustrated by Marjorie Torrey (New York: Random House, 1955) American illustrator Marjorie Torrey (ca. 1889–1964) received a Caldecott Honor award for her 1946 Sing Mother Goose and another in 1947 for Sing in Praise: A Collection of the Best Loved Hymns. Torrey’s Alice hearkens back to John Tenniel’s original, with her pinafore, tights, and Mary Jane shoes, but the style of illustration is very much in keeping with trends in mid-­‐century children’s books. Torrey’s return to a more traditional Alice may have been influenced by the popularity of the 1951 Disney film and its Tenniel-­‐inspired Alice. [23] Lewis Carroll’s Alice’s Adventures in Wonderland, illustrated by John Tenniel (Garden City, N.J.: Doubleday, 1960) Interior page is digital reproduction This 1960 edition of Alice’s Adventures in Wonderland returned to the original John Tenniel illustrations but used vibrant colors to update the look of the book. The highly recognizable elongated Alice has a more contemporary feel when rendered in bright turquoise, though she and the other Tenniel illustrations appear aesthetically at odds with the illustration on the dust jacket. [24] Lewis Carroll’s Alice in Wonderland, illustrated by Ralph Steadman (London: Dobson, 1967) Ralph Steadman (b. 1936) is perhaps best known for his collaborations with “Gonzo journalist” Hunter S. Thompson. His award-­‐winning interpretation of Alice’s Adventures in Wonderland set the story in contemporary England. In Steadman’s illustrations, the Mad Hatter became a game show host and the White Rabbit a middle-­‐class commuter. Steadman’s Alice retains her pinafore, tights, and Mary Janes, but is reimagined in Steadman’s signature style. [25] Lewis Carroll’s Alice’s Adventures in Wonderland, illustrated by Yayoi Kusama (London: Penguin Classics, 2012) Japanese artist Yayoi Kusama (b. 1929) moved to the United States in 1957 where she made a name for herself in the midst of a vibrant pop art scene. She returned to Japan in 1973 and has lived there ever since. She continues to paint and create large-­‐scale sculptures. Kusama’s abstract illustrations for Alice’s Adventures in Wonderland feature her signature polka dots, but Alice does not play a significant role in the book’s illustration. A brunette Alice figure, in a red and white polka dot dress, appears in the book’s last illustration. [26-­‐30 are in wall cubes, do not need additional text] [26] Lewis Carroll’s Alice’s Adventures in Wonderland, illustrated by John Tenniel (Chicago, Morrill, Higgins & Co., 1892) [27] Lewis Carroll’s Alice in Wonderland, illustrated by J. R. Sinclair (London: Sunday School Union, 1909) [28] Lewis Carroll’s Alice’s Adventures in Wonderland, with cut-­‐out pictures painted by Julia Greene and Helen Pettes, silhouettes by Julia Greene (New York: Cupples & Leon, 1917) [29] Lewis Carroll’s Alice in Wonderland and Through the Looking-­‐Glass, illustrated by John Tenniel (New York: Grosset & Dunlap, 1946) [30] Lewis Carroll’s Alice’s Adventures in Wonderland, illustrated by John Tenniel (London: Folio Society, 1961) [31-­‐33 in frames] [31] The Adventures of Alice in Wonderland, illustrated by George O. Muhlfield, adapted by Serge S. Sabarasky (New York: Civil Service Publications, Incorporated, 1945) [32] Lewis Carroll’s Alice in Wonderland, illustrated by Alex A. Blum (New York: Gilberton Co., Inc, July 1948) [33] Lewis Carroll’s Alice in Wonderland (New York: Marvel Comics, 1978) [34] Lewis Carroll’s Alice’s Adventures in Wonderland, A Pop-­‐Up Adaptation of Lewis Carroll’s Original Tale by Robert Sabuda (New York: Simon & Schuster, 2003) Robert Sabuda (b. 1965) , who sometimes refers to himself as a “paper engineer,” began creating his own pop-­‐ups as a young boy and published his first pop-­‐up book in 1994. In this edition of Alice’s Adventures in Wonderland, Sabuda created multiple moving components on many of the pages. [35] Lewis Carroll’s Alice in Wonderland, illustrated by A. L. Bowley (London: Raphael Tuck & Sons, 1920) This edition of Alice in Wonderland features a “come to life panorama.” This pop-­‐up offers a panoramic view of characters from the stories. Other books in the “come to life panorama” series included Robinson Crusoe and Stories from Dickens. The book was published by the same company that produced the Alice in Wonderland “zag-­‐
zaw” puzzle on display in the gallery. [36-­‐41 are in wall cubes] [36] Alicia En El Pais De Las Maravillas, Spanish translation by Migel Angel Gómez and illustrations by Axel M. Amuschasteguir (Buenos Aires: Editorial Codex, 1946) [37] Alicia No País Das Fadas, Portuguese translation illustrated by Alfredo Morais (Lisbon: João Romano Toress & C., 1930) [38] [Alice’s Adventures in Wonderland], Chinese translation by Tsu Pei Wong (Taipei, Formosa: Tai Shun, 1962) [39] Ajab Deshe Alice, Bengali translation by Pradip Kumar Chakravarti (Calcutta: National, 1966) [40] Alica U Zemlji Čudesa, Croatian translation by Mira Jurkić-­‐Šunjić and illustrations by Raul Goldoni (Zagreb: Mladost , 1959) [41] Alice se Avonture in Wonderland, Afrikaans translation by André P. Brink and illustrations by John Tenniel (Capetown: Human & Rousseau, 1965) [42] Alice Au Pays de Merveilles, French translation by Guy Trédez and illustrations by D’Adrienne Ségur (Paris: Flammarion, 1949) Interior page is a digital reproduction [43] Alice Au Pays des Marveilles, French translation by Henriette Rouillard and illustrations by A. Pécoud (Paris: Librairie Delagrave, 1935) Interior page is a digital reproduction [44] Alicia en el País de las Maravillas, Spanish translation (Madrid: Editorial Rivadeneyra, 1920) [45] Alice Im Wunderland, German translation by Helene Scheu-­‐Riesz and illustrations by Uriel Birnbaum (Vienna and Liepzig: Sesam-­‐Verlag, 1923) [46] Alice Im Wunderland, German translation by Kurt Schrey and illustrations by Wiltraud Jasper (Opladen: Verlag, Friedrich Middlehauve, 1958) [47] Évike Tündérországban, Hungarian translation by Kosztolányi Dezsö and illustrations by Fáy Dezsö (Budapest: Gergely R. Kiadása, 1935) [48] Alenka V Kraji Divů A Za Zrcadlem, Czech translation by Aloys a Hanna Skoumalovi and illustrations by Dagmar Berková (Prague: Státní Nakladatelství, Dětské Knihy, 1961) [49] Ania V Strania Chudes, Russian translation by V. Sirin [Vladimir Nabokov](Berlin: Gamaiun, 1923) When Valdimir Nobokov (1899–1977) published his 1923 Russian translation of Alice’s Adventures in Wonderland he did so under the pen name V. Sirin. Nabokov later recalled that he had translated the story in one summer for a fee of about five dollars. Nabokov had grown up in a family that read and spoke French and English as well as Russian and he was familiar with the Carroll story before he began the translation. He sought to find a middle ground between literal word-­‐for-­‐word translations and making Carroll’s nonsense meaningful to readers who would be unfamiliar with his extensive cultural allusions. Nabokov substituted Russian nursery rhymes for Carroll’s English versions, capturing the spirit of Carroll’s parodies if not their literal translation. [50] Elisi Katika Nchi Ya Ajabu Swahili translation by E. V. St. Lo Conan-­‐Davies (London: The Sheldon Press, 1940) This Swahili translation was likely a product of British colonial activity in East Africa. Elisi was one of several Swahili titles that Sheldon Press offered. The book went into several printings over the next 25 years. The book’s illustrator created drawings of a young African “Elisi” based on John Tenniel’s originals. A subsequent owner of the book pasted copies of Tenniel’s illustrations on many of the pages. [51] Down the Rabbit Hole, Movie-­‐Jecktor paper filmstrip created by Dandy Films for the Movie-­‐
Jecktor Co., 1933 Alice and the Mad Hatter, Movie-­‐Jecktor paper filmstrip created by Dandy Films for the Movie-­‐Jecktor Co., 1933 The Movie-­‐Jecktor company first began selling its projectors for paper filmstrips in 1933. The projector had two lenses. The shutter would alternate between them creating the appearance of a moving image. Both Alice filmstrips were a part of the first series of films available. These filmstrips have received extensive care and treatment in the Ransom Center’s conservation lab. You can learn more about conservation and view a digital recreation of the projection of these filmstrips on the monitor to your left. [51a] Label for video monitor Learn about the Ransom Center’s conservation department and the care and consideration that go into the selection of an item for an exhibition. Watch a digital recreation of the projection of the Movie-­‐Jecktor paper filmstrip Down the Rabbit Hole. Watch a digital recreation of the projection of the Movie-­‐Jecktor paper filmstrip Alice and the Mad Hatter. See the Alice in Wonderland colored magic lantern slides. [No number: facsimiles of Tenniel v underground] Digital reproductions from the facsimile edition of Alice’s Adventures Under Ground (1864)and the first edition of Alice’s Adventures in Wonderland (London: MacMillan and Co., 1866) Charles Dodgson’s illustrations for Alice’s Adventures Under Ground informed many of John Tenniel’s illustrations. Though scholars have recounted stories of friction between Dodgson and Tenniel, Frankie Morris’s 2005 Tenniel biography suggests that such stories are largely inaccurate and she sees Carroll’s influence on Tenniel’s final illustrations as indicative of their effective working relationship. [52] Letter from John Tenniel to A. W. McKenzie, November 12, 1899 The first page of the letter is a digital reproduction Though John Tenniel (1820–1914) had a long and prolific career as a book illustrator and political cartoonist, today he is best known as the original illustrator of Alice’s Adventures in Wonderland. In this letter, Tenniel’s frustration at the continued interest in his association with Alice is evident: “I have no ‘reminiscences’ whatever of either Lewis Carroll-­‐—or in connection with ‘Alice,’ to give; in plain truth I shrink at the mere mention of ‘Alice in Wonderland.’” [53] Digital reproduction of John Tenniel’s “American Juggernaut” cartoon from Punch, September 1864 John Tenniel first began working for Punch magazine in late 1850 and continued until 1901. In his early days at Punch, Tenniel designed titles and incidental illustrations. Soon he was promoted to the position of chief political cartoonist. Even as Tenniel was creating the illustrations for Alice, he was producing political cartoons offering commentary on the American Civil War. In “American Juggernaut,” Tenniel graphically depicted the casualties of the war. [54] Rev. James Thomas’s Aesop’s Fables, illustrated by John Tenniel (Philadelphia: Porter & Coates, 1848) Nearly20 years before he illustrated Alice’s Adventures in Wonderland, John Tenniel created more than 100 illustrations for this edition of Aesop’s fables. The quality of the illustration in Aesop’s Fables was partially responsible for Tenniel’s selection as a cartoonist at Punch. Nevertheless, Tenniel himself was critical of the work. He revised 18 of the drawings when the book was issued in a new edition. [55] Lewis Carroll’s Alice’s Adventures in Wonderland, illustrated by John Tenniel (New York: George Munro, ca. 1887) This Seaside Library edition of Alice’s Adventures in Wonderland offered the story to readers in an inexpensive paperbound form. Alice was not protected by copyright in the United States, so Munro could publish the edition without seeking permission. [56] The “suppressed” first edition of Lewis Carroll’s Alice’s Adventures in Wonderland illustrated by John Tenniel (London: MacMillan, 1865) There are only about 25 known copies of the suppressed first edition, of Lewis Carroll’s Alice’s Adventures in Wonderland. This copy appears to be one of the books that Lewis Carroll donated to charitable institutions and bears the inscription, “Metropolitan Convalescent Institution Children’s Branch, August 1866.“ A British planter purchased the book in a second-­‐hand bookstore in Bangalore, India in the 1950s. It was later acquired by collector Warren Weaver. [57] The first edition of Lewis Carroll’s Alice’s Adventures in Wonderland, illustrated by John Tenniel (London: MacMillan and Co., 1866) [58] and [59] combine into one Lewis Carroll’s The Nursery “Alice,” illustrated by John Tenniel and cover designed by E. Gertrude Thompson (London: MacMillan, 1889) Lewis Carroll’s The Nursery “Alice,” illustrated by John Tenniel and cover designed by E. Gertrude Thompson (London: MacMillan, 1890) Lewis Carroll decided to create a version of the Alice story for readers under the age of 5. He included color illustrations, edited the story significantly, and added new text to engage young readers with the details of the illustrations. When The Nursery Alice was first printed, Carroll found the illustrations “too bright and gaudy” and asked that it not be sold in England. The edition was directed to the United States for sale. The first edition widely available in England appeared in 1890. [60] V. Marrett [Alice with Cards], ca. 1886 The origin and purpose of this painting is unknown, but it is associated with the first major stage adaptation of Alice’s Adventures in Wonderland and Through the Looking-­‐Glass in 1886. [74] Alice in Wonderland colored pencils made by Eberhard Faber, ca. late 1920s Pencil manufacturer Eberhard Faber created this colored pencil set with “the young artist” in mind. The boxes in the series featured illustrations of well-­‐known children’s stories including Alice and The Three Little Pigs. The sliding box allowed the brightly colored pencils to become part of the illustration. The “window” feature of the box was a design originally created for tobacco products and then refined and patented by Eberhard Faber in 1927. [75] “Alice’s Crayons” produced by Ullman MFO. Co., ca. 1933 This set of crayons was produced in conjunction with the 1933 Paramount film Alice in Wonderland. The box features actress Charlotte Henry as Alice and the 12 jumbo crayons feature characters from the story. [76] Walt Disney’s Alice in Wonderland rubber stamp set made in Milan, Italy by Toys International, ca. 1973–1974. Disney’s Alice in Wonderland continued to spawn associated products long after the initial release of the film. This stamp set may have been produced to coincide with the film’s first re-­‐release in 1974. [77] & [78] The Colorful Alice in Wonderland coloring book (San Mateo, Ca: Determined Productions Inc., 1961) Determined Productions offered these large-­‐scale Alice coloring books noting, “you will want to tear out the pages and frame them…they make good wall paper too…or send them to someone you like very much.” Determined Productions founder, Connie Boucher (1923–1995) was a pioneer in the licensing of cartoon characters for use in commercial products, effectively marketing Charles Schultz’s Peanuts characters. She also used illustration, like Tenniel’s, that was no longer protected by copyright. These vivid coloring books emerged on the cusp of an Alice rebirth. The 1967 Jefferson Airplane song “White Rabbit” cemented Alice’s role in the psychedelic culture of America in the 1960s and 1970s. [80] Alice in Wonderland View-­‐Master stereoscopic picture reels made in the United States by Sawyer’s Inc., ca. 1950s [81] View-­‐Master stereoscopic viewer made in the United States by Sawyer’s Inc., ca. 1953 Though today it is largely regarded as a children’s toy, the View-­‐Master stereoscope was conceived of and promoted as an entertainment for both adults and children. Sawyer’s described the View-­‐Master as “a modern adaptation of the popular stereoscopic viewer of three generations ago.” The catalog of picture reels available in 1953 included relatively few selections for children. Many of the reels offered glimpses of the geography and landmarks of states and countries. [82] Alice in Wonderland, the listen and look picture book (New York: Music You Enjoy Inc., 1941) This extraordinarily condensed version of Alice’s Adventures in Wonderland omits many major episodes. Listeners could follow along with the book while the record played. Listen to a selection from this “listen and look picture book” at the ipod station below. [83] Alice in Wonderland complete and unabridged, a talking book (St. Joseph, MI: Audio Book Company, 1958) In contrast to the other audio versions on display here, this recording offered listeners the complete text of Lewis Carroll’s story. It was not accompanied by a book but intended solely for listening. The Audio Book Company produced 16 RPM (revolutions per minute) records that offered more playing time per side. Alice was just one of many “talking books” offered by the Audio Book Company. Other titles include The Wizard of Oz, The Autobiography of Benjamin Franklin, and The Trial of Socrates. Listen to a selection from this “talking book” at the ipod station below. [84] Alice in Wonderland, a Disney little nipper giant storybook record album (Poughkeepsie: Western Printing and Lithography, 1951) This Disney version of Alice follows the film rather than Lewis Carroll’s original. The recording features the voices of the actors from the film including Kathryn Beaumont as Alice and Ed Wynne as the Mad Hatter. Young readers were encouraged to follow along in the book while the record played and were prompted to turn the page every time the Mad Hatter giggled. Listen to a selection from this record album at the ipod station below. [85] “Alice’s Race in Wonderland” board game made in England by H. P. Gibson & Sons Ltd, not dated This four-­‐player game includes small metal figures of Alice, the Red Queen, the White Rabbit, and the Mad Hatter. Players roll the dice and race around the board, trying to avoid pitfalls along the way. [86] Jumbo Alice in Wonderland puzzle made by H-­‐G Toys [Harett-­‐Gillmar, Inc.], undated This puzzle was one of a series of puzzles based on children’s stories produced by H-­‐G Toys. Other puzzles in the series featured Rumpelstiltskin, Snow White, and Little Red Riding Hood. [87] Alice in Wonderland Tuck’s Zag-­‐Zaw Picture Puzzle designed by M. Bowley, made in England by Raphael Tuck & Sons, ca. 1930s Tuck’s got its start as a producer of greeting cards and postcards but began producing puzzles in the late nineteenth century. Tuck’s promoted wooden puzzles as “A most fascinating recreation used by royalty, society & the great public.” Tuck’s puzzles often featured shaped pieces or “whimsies” like those seen here. [88] Replica Alice in Wonderland notched game cards, printed in Hong Kong for Merrimack Publishing Corporation, 1980 This notched card set could be used to create card structures of all kinds. Each card has six notches or slots for joining the cards in different ways. The illustrations are John Tenniel’s. [89] Alice’s Adventures in Wonderland and Through the Looking-­‐Glass hinged wooden figurines, not dated These figurines depict characters from both Alice’s Adventures in Wonderland and Through the Looking-­‐Glass. [90] Warren Weaver’s Lewis Carroll collection catalog cards, undated These catalog cards offer a sense of the scale of Warren Weaver’s Lewis Carroll collection as well as the care and attention to detail he gave each item in the collection. [91] Warren Weaver’s Alice’s Adventures in Wonderland scrapbook, ca. 1932–1949 Warren Weaver’s scrapbook preserves Alice references in advertisements, newspaper features, political cartoons, and other ephemeral forms that might otherwise be lost. Collectively, these items show the breadth, depth, and consistency of Alice references in popular culture. [93] Isaac Watts’s “Against Idleness and Mischief” in Divine Song Attempted in Easy Language, For the Use of Children (London: Printed for Richard Ford, 1735) Isaac Watts (1674–1748) wrote Christian hymns departing from previous generations of writers who drew their texts almost exclusively from the Bible. Watts had observed that those singing hymns were often unmoved by the lyrics, and he sought to create more emotional renderings. Watts wrote this collection of “divine song” for children, first published in 1715, for the use of parents to whom “the wisdom and welfare of the succeeding generation are intrusted.” [94] Robert Southey’s “The Old Man’s Comforts, and How He Gained Them” in The Poetical Works of Robert Southey (London: Longman, Brown, Green, and Longmans, 1844) English Romantic poet Robert Southey (1774–1843) wrote “The Old Man’s Comforts” in the form of a dialogue between an old and young man and suggests that youthful virtue will be rewarded in old age. Lewis Carroll’s parody subverts the moral lesson and the wisdom of the older man who is now explicitly the younger man’s father. Carroll’s poem concludes with these two stanzas: “You are old,” said the youth, “one would hardly suppose That your eye was as steady as ever; Yet you balanced an eel on the end of your nose— What makes you so awfully clever?” “I have answered three questions, and that is enough,” Said his father. “Don’t give yourself airs! Do you think I can listen all day to such stuff? Be off, or I’ll kick you down the stairs.” [95] Mary Howitt’s “The Spider and the Fly” in The Poems of Mary Howitt (Philadelphia: John Locken, 1844) Lewis Carroll adapts the first line of English poet Mary Howitt’s (1799–1888) “The Spider and the Fly” for the Mock Turtle’s nonsensical song, which begins: “Will you walk a little faster?” said a whiting to a snail, “There’s a porpoise close behind us, and he’s treading on my tail. See how eagerly the lobsters and the turtles all advance! They are waiting on the shingle—will you come and join the dance?” Readers of the day would have recognized the allusion and the similar meter of Carroll’s poem. [96] Mother Goose’s Melodies for Children, illustrated by Henry L. Stephens and Gaston Fay (New York: Hurd and Houghton, 1877) Unlike many of the other poems featured in this case, Carroll did not use “The Queen of Hearts” as a point of departure for a parody but as an integral part of a storyline. The theft of the tarts forms the basis of the trial scene that concludes Alice’s Adventures in Wonderland. [97] & [98] William Cameron Menzies and Joseph L. Mankiewicz’s illustrated screenplay for the 1933 film Alice in Wonderland This unique illustrated screenplay outlines the action for the 1933 Paramount film Alice in Wonderland. William Cameron Menzies (1896–1957) worked as art director on a number of Paramount films before he undertook the studio’s adaptation of Alice’s Adventures in Wonderland. Screenwriter Joseph L. Mankiewicz (1909–1993) wrote the screenplay and Menzies provided a visual guide for the filming. Both men had distinguished careers in film. Mankiewicz won Academy Awards in 1950 and 1951 for writing and directing A Letter to Three Wives and All About Eve. Menzies won an Academy Award in 1929 for art direction and a special Academy Honorary Award for “outstanding achievement in the use of color for the enhancement of dramatic mood” in Gone With the Wind. [98a-­‐ video monitor] Watch the scene from Alice in Wonderland (1933) as it appeared in the final version of the film. [106] Alice in Wonderland coloured lantern slides made in London by W. Butcher & Sons, ca. 1907 Butcher & Sons offered junior lecturer slides in diverse subjects including history, natural history, and literature. The Amateur Photographer praised the Alice slide set and a companion Peter Pan set upon their release in 1907 as a way to “encourage young people in the use of the lantern.” It asked, “What boy or girl does not know, or at any rate, has not heard, of the delightful stories of Alice and Peter Pan?” These eight slides comprise the first of three chapters of available Alice in Wonderland lantern slides. The slides were accompanied by a script to be read by the presenter. [108] and [109] Combine Publicity photographs from the 1933 Paramount film Alice in Wonderland These photographs of Alice (Charlotte Henry, 1914–1980), the Mock Turtle (Cary Grant 1904–1986), and the Gryphon (William Austin, 1884–1975) show the costume designers’ indebtedness to John Tenniel’s original illustrations. In 1933 Cary Grant was still in the early stages of his film career. Charlotte Henry had made her Broadway debut at the age of 14 and later appeared in the Laurel and Hardy film Babes In Toyland. William Austin would appear in films through the 1930s and 1940s but became best known for his appearance as Alfred the Butler in Columbia Pictures 1943 Batman serial. [110] Horace Wyatt’s Malice in Kuturland (New York: E. P. Dutton & Co, 1917) In this American edition of the 1914 British original, the story begins with Alice encountering the Dodo (a Liberal), who claims that he and the Lory (a Tory) have buried the hatchet upon the onset of World War I. The Dodo launches into a parody of the nonsense poem “Jabberwocky” from Through the Looking-­‐Glass to describe the beginning of the war: “’Twas dertag, and the slithy Hun Did sturm and sturgel through the sludge; All bulgous were the blunderguns, And the bosch bombs outbludge….” [111] Arthur Wragg’s Alice Through the Paper-­‐Mill (Birmingham: C. H. Foyle, 1940) This parody appeared in the midst of Britain’s engagement in World War II. Arthur Wragg (1903–1976), offered the work “in respectful criticism of the paper control and kindred matters relating the present state of trade.” In September 1939 the British government restricted newspapers to 60% of their pre-­‐war consumption. A program of paper salvage, or recycling, was soon also put into effect. Wragg used the world of Wonderland to suggest the logic behind these and other government controls was specious. Wragg, a British artist, was a conscientious objector during the war, ultimately serving time in prison. [112] James Dryenforth and Max Kester’s Adolf in Blunderland illustrated by Norman Mansbridge (London: Frederick Muller Ltd, 1939) This parody features a young (but mustached) Adolf Hitler as a stand-­‐in for Alice. At the tea party he encounters the Flatterer, whose watch he observes: Why, what a curious watch! Instead of hours, it has Anti-­‐British Propaganda, Anti-­‐
French Propaganda, Anti-­‐Polish Propaganda, and so on, all the way round. I thought a watch was to tell the time. The Flatterer replies: In Germany there is only time for propaganda. [113] H. S. Roberts’s Punch and Judy Quadrille (London: Ashdown Parry, c. 1863) [114] Animation cel from Walt Disney’s Alice in Wonderland, ca. 1950 In traditional film animation each frame was drawn by hand. This animation cel, or celluloid, represents one frame of the tea party scene from Alice in Wonderland. Cels were often placed over a background drawing so that the background remained consisted from frame to frame and did not have to be redrawn. Disney’s The Little Mermaid (1989) was the last feature film the studio produced using traditional hand-­‐drawn animation cels. Today, most animated films are created digitally. [115] and [116] combine Lewis Carroll’s The Wonderland Postage-­‐Stamp Case, 1890 Lewis Carroll’s The Wonderland Postage-­‐Stamp Case, 1890 Lewis Carroll was actively engaged in efforts to extend the commercial reach of his Alice stories. In 1890 he developed a concept for a postage stamp case that would hold stamps of varying prices. When the insert is pulled from the case, the Duchess’s baby becomes a pig. Carroll called this effect a “pictorial surprise.” In an accompanying pamphlet Carroll wrote of the effect, “If that doesn’t surprise you, why, I suppose you wouldn’t be surprised if your own Mother-­‐in-­‐law suddenly turned into a gyroscope.” Photographs/Artworks: [12] Salvador Dalí (Spanish, 1904–1989) Alice’s Adventures in Wonderland title page and frontispiece, 1969 [12A] Salvador Dalí (Spanish, 1904–1989) Down the Rabbit Hole, 1969 Heliogravure [12B] Salvador Dalí (Spanish, 1904–1989) A Caucus Race and a Long Tale, 1969 Heliogravure [12C] Salvador Dalí (Spanish, 1904–1989) The Rabbit Sends in a Little Bill, 1969 Heliogravure [12D] Salvador Dalí (Spanish, 1904–1989) Advice from a Caterpillar, 1969 Heliogravure [12E] Salvador Dalí (Spanish, 1904–1989) Pig and Pepper, 1969 Heliogravure [12F] Salvador Dalí (Spanish, 1904–1989) Mad Tea Party, 1969 Heliogravure [12G] Salvador Dalí (Spanish, 1904–1989) The Queen's Croquet Ground, 1969 Heliogravure [12H] Salvador Dalí (Spanish, 1904–1989) The Mock Turtle’s Story, 1969 Heliogravure [12I] Salvador Dalí (Spanish, 1904–1989) Alice's Evidence, 1969 Heliogravure [62] Lewis Carroll (Charles Lutwidge Dodgson) (British, 1832–1898) [Isabella “Ella” Maude Drury], 1869 Albumen print (carte de visite) Gernsheim Collection [63] Lewis Carroll (Charles Lutwidge Dodgson) (British, 1832–1898) St. George, 1875 Albumen print (cabinet card) Gernsheim Collection [64] Lewis Carroll (Charles Lutwidge Dodgson) (British, 1832–1898) St. George and the Dragon, 1875 Albumen print (cabinet card) Gernsheim Collection [65] Lewis Carroll (Charles Lutwidge Dodgson) (British, 1832–1898) [Aunts Henrietta Mary Lutwidge and Margaret Anne Lutwidge playing chess], 1859 Albumen print Gernsheim Collection [66] Lewis Carroll (Charles Lutwidge Dodgson) (British, 1832–1898) W. L. Dodgson, 1869 Albumen print Gernsheim Collection [67] Lewis Carroll (Charles Lutwidge Dodgson) (British, 1832–1898) Alice Donkin, 1863 Albumen print Gernsheim Collection [68] Lewis Carroll (Charles Lutwidge Dodgson) (British, 1832–1898) [Self-­‐portrait, distributed by Hills & Saunders, Oxford], 1874 Albumen print (cabinet card) Gernsheim Collection [69] Lewis Carroll (Charles Lutwidge Dodgson) (British, 1832–1898) [Edith, Lorina, and Alice Liddell], 1858 Albumen print (cabinet card) Gernsheim Collection [70] Lewis Carroll (Charles Lutwidge Dodgson) (British, 1832–1898) [Self-­‐portrait], 1875 Albumen print Gernsheim Collection [71] Julia Margaret Cameron (British, 1815–1879) Alethia [Alice Liddell], 1872 Carbon print Gernsheim Collection [72] Lewis Carroll (Charles Lutwidge Dodgson) (British, 1832–1898) Alice Murdoch Plate 6 of Album [A].VI, 1856 Albumen print Gernsheim Collection [99] Abelardo Morell (American, b. Cuba, 1948) Down the Rabbit Hole From the series Alice in Wonderland 1998, printed 2014 Inkjet print Courtesy of the artist [100] Abelardo Morell (American, b. Cuba, 1948) A Mad Tea Party From the series Alice in Wonderland 1998, printed 2014 Inkjet print Courtesy of the artist [101] Abelardo Morell (American, b. Cuba, 1948) Off With Her Head From the series Alice in Wonderland 1998, printed 2014 Inkjet print Courtesy of the artist [102] Abelardo Morell (American, b. Cuba, 1948) Off With His Head From the series Alice in Wonderland 1998, printed 2014 Inkjet print Courtesy of the artist [103] Abelardo Morell (American, b. Cuba, 1948) The Cheshire Cat From the series Alice in Wonderland 1998, printed 2014 Inkjet print Courtesy of the artist [117] Maggie Taylor (American, b. 1961) I suppose you will be telling me next that you never tasted an egg!, 2006 From the series Almost Alice Inkjet print Gift of Verve Gallery of Photography, Santa Fe [118] Maggie Taylor (American, b. 1961) (as she had hoped), 2007 From the series Almost Alice Inkjet print Gift of Verve Gallery of Photography, Santa Fe [119] Maggie Taylor (American, b. 1961) Golden afternoon., 2006 From the series Almost Alice Inkjet print Gift of Verve Gallery of Photography, Santa Fe [120] Maggie Taylor (American, b. 1961) But who has won?, 2007 From the series Almost Alice Inkjet print Gift of the artist [121] Maggie Taylor (American, b. 1961) They’re only a pack of cards., 2006 From the series Almost Alice Inkjet print Gift of the artist [122] Maggie Taylor (American, b. 1961) Call the next witness., 2008 From the series Almost Alice Inkjet print Gift of Verve Gallery of Photography, Santa Fe Alice Around the World ARGENTINA Alicia En El Pais De Las Maravillas, Spanish translation by Migel Angel Gómez and illustrations by Axel M. Amuschasteguir (Buenos Aires: Editorial Codex, 1946) AUSTRALIA Alitjinya Ngura Tjukurtjarangka, Pitjantjatjara translation and adaptation by Nancy Sheppard, illustrations by Byron Sewell (Adelaide, South Australia: Department of Adult Education, 1975) CHINA [Alice’s Adventures in Wonderland], Chinese translation by Tsu Pei Wong (Taipei, Formosa: Tai Shun, 1962) CROATIA Alica U Zemlji Čudesa, Croatian translation by Mira Jurkić-­‐Šunjić and illustrations by Raul Goldoni (Zagreb: Mladost, 1959) CZECH REPUBLIC Alenka V Kraji Divů A Za Zrcadlem, Czech translation by Aloys a Hanna Skoumalovi and illustrations by Dagmar Berková (Prague: Státní Nakladatelství, Dětské Knihy, 1961) FRANCE Alice Au Pays Des Merveilles, French translation by M. M. Fayet and illustrations by Jean Hée (Paris: Les Œuvres Représentatives, 1930) GERMANY Alice Im Wunderland, German translation by Helene Scheu-­‐Riesz and illustrations by Uriel Birnbaum (Vienna and Liepzig: Sesam-­‐Verlag, 1923) GEORGIA [Alice’s Adventures in Wonderland], illustrations by Z. Mokardze (Tbilisi: Nakaduli, 1969) HUNGARY Évike Tündérországban, Hungarian translation by Kosztolányi Dezsö and illustrations by Fáy Dezsö (Budapest: Gergely R. Kiadása, 1935) ICELAND Lísa Í Undralandi (Bókaútgáfan Röđull, Hafnarfirđi, 1960) INDIA Ajab Deshe Alice, Bengali translation by Pradip Kumar Chakravarti (Calcutta: National, 1966) INDIA Achraj Lok, Hindi translation by Kishor Garg (Delhi: Rani Prakashan Navin Shahdara, 1965) INDIA Alice in Wonderland, Kanarese translation by Sankara Bhat (Mangalore: Kanada Prapanka Prakashana, 1956) ITALY Alice Nel Paese Delle Meraviglie, Italian translation by Alda Radicati and illustrations by Sandro Nardini (Torino: Edizioni Ramella, 1950) JAPAN [Alice’s Adventures in Wonderland], Japanese translation by Kunio Nakamuro (Tokyo: Nakamura Shoten, 1953) ISRAEL Alisah be-­‐erets ha-­‐niflaʼot, Hebrew translation by L. Siman (Tel Aviv: Omanut, 712, 1952) SOUTH KOREA [Alice’s Adventures in Wonderland] Korean translation by Nak Wong Han (Seoul, Korea: Kae Mong Sha, 1963) LITHUANIA Alisa Srebuklų Šalyje, Lithuanian translation by K. Grigas and illustrations by Carlzo Robinzono (Vilnius: Valstybinė, Grožinės Literatūros Leidykla, 1957) MEXICO Alicia en el País de las Maravillas, illustrations by Cristina Beatriz Rocha (México: Editorial Concepto, 1980) NETHERLANDS Alice in Wonderland, Dutch translation by Dr. Frans Verachtert and illustrations by Rita van Nuffel (Kempische Boekhandel-­‐Retie: 1970) PERU Alicia En El Pais De Las Maravillas (Lima: Empresa Editora Monterrico S. A., 1959) PORTUGAL Alicia No País Das Fadas, illustrations by Alfredo Morais (Lisbon: João Romano Toress & C., 1930) SPAIN Alicia En El Pais De Las Maravillas , Spanish translation by Maricel Lagresa Colom, cover illustration by Bosch Penalva and interior illustrations by Trini Tintoré (Barcelona: Editorial Bruguera, S.A., 1973) SOUTH AFRICA Alice se Avonture in Wonderland, Afrikaans translation by André P. Brink and illustrations by John Tenniel (Capetown: Human & Rousseau, 1965) Magic lantern, unidentified manufacturer, ca. 1900 Gillis King Collection, Harry Ransom Center With the rapid rise in popularity of glass lantern slide programs in the late nineteenth century, many firms produced commercial lantern slides sets and lantern slide projectors. Magic lanterns were manufactured in a variety of designs and sizes, in order to accommodate all ages of users and ambitions, ranging from child to adult, and from modest amateur photographer to large professional organizations. This mailbox-­‐style lantern was a mass-­‐produced and relatively inexpensive projector designed mainly for family entertainment. A kerosene lamp placed in the main chamber served as the light source. It featured a taller main chamber so that heat could disperse more efficiently and less dangerously. A reflector was built into the back so that the brightness of the open flame could be amplified before being transmitted through the lantern slide and the front lens. As electricity became more practical and affordable many lanterns, such as this model, were retrofitted for electric light. Half-­‐plate portable bellows camera, manufactured by George Hare (London), ca. 1880 Gernsheim Collection, Harry Ransom Center Originally produced for wet plate photography in 1877, the design of this camera was quickly adapted the following year for the newer dry plate technology. Included with this model are three wooden plate-­‐holders, each capable of holding two prepared dry plates. Although the fundamental design of this camera is nearly identical to that of the British wet plate apparatus employed by Dodgson, this model is a later dry plate version. It dates roughly from the period in which Dodgson abandoned photography—in part because he favored the earlier wet plate process that was rapidly going out of fashion during the 1880s. Crown tripod no. 2, manufactured by Folmer Graflex Corp. (Rochester, N.Y.), ca. 1930 The wet plate cameras of Dodgson’s era required a portable wooden tripod for stability, especially during long exposures. Although the displayed tripod dates from the early twentieth century and is of American manufacture, its basic design is consistent with the tripods used in Dodgson’s time. The same practical design with few variations was employed internationally from the 1850s until metal models were introduced in the 1920s and 1930s. [Labels for timeline facsimiles (printed individually)] Lewis Carroll’s Through the Looking-­‐Glass, and What Alice Found There, illustrated by John Tenniel (London: Macmillan, 1872) Though the title page features the date 1872, Through the Looking-­‐Glass was printed in late 1871. Lewis Carroll’s Alice’s in Wonderland, illustrations after John Tenniel (New York: McLoughlin Brothers, 1903) Lewis Carroll’s Alice’s Adventures in Wonderland, illustrated by Charles Robinson (London: Cassell, 1907) Lewis Carroll’s Alice’s Adventures in Wonderland, illustrated by Arthur Rackham (London: W. Heinemann, 1907) Lewis Carroll’s Alice’s Adventures in Wonderland, illustrated by Bessie Gutmann (London: John Milne, 1908) Lewis Carroll’s Alice’s Adventures in Wonderland, illustrated by Harry Rountree (London: 1908) Lewis Carroll’s Alice in Wonderland, illustrated by Mabel Lucie Attwell (London: Raphael Tuck & Sons, 1910) Lewis Carroll’s Alice’s Adventures in Wonderland, illustrated by A. E. Jackson (New York: George H. Doran Company, 1914) Lewis Carroll’s Alice’s Adventures in Wonderland; and Through the Looking-­‐Glass, illustrated by Milo Winter (Chicago, Rand, McNally & Company, 1916) Lewis Carroll’s Alice’s Adventures in Wonderland, illustrated by Margaret Tarrant (London: Ward, Lock & Co., 1916) Lewis Carroll’s Alice’s Adventures in Wonderland, illustrated by Willy Pogany (New York: E. P. Dutton, 1929) Lewis Carroll’s Alice’s Adventures in Wonderland & Through the Looking Glass (New York: McLoughlin Brothers, 1930) Lewis Carroll’s Alice’s Adventures in Wonderland, illustrated by Harry Rountree (London: Collins Clear-­‐Type Press, 1931) Lewis Carroll’s Alice’s Adventures in Wonderland, illustrated by Bessie Pease, cover illustration by G.P. Micklewright (London: J. Coker and Co, 1933) Lewis Carroll’s Alice’s Adventures in Wonderland, illustrated by PA (Rome: Volterra, 1945) Walt Disney’s Alice in Wonderland Finds the Garden of Live Flowers, adapted by Campbell Grant (New York: Simon & Schuster, 1951) Walt Disney’s Alice in Wonderland Meets the White Rabbit, adapted by Al Dempster (New York: Simon & Schuster, 1951) Mad Hatter’s Tea Party from Walt Disney’s Alice in Wonderland, adapted by Richmond I. Kelsey and Don Griffith (New York: Simon & Schuster, 1951) Lewis Carroll’s Alice in Wonderland, illustrated by Marjorie Torrey (New York: Random House, 1955) Lewis Carroll’s Alice in Wonderland (Baltimore: Ottenheimer Publishers, Inc., 1970) Lewis Carroll’s Alice’s Adventures in Wonderland, illustrated by Barry Moser (Berkley: University of California Press for Pennyroyal Press, 1982) Lewis Carroll’s Alice’s Adventures in Wonderland, illustrated by S. Michelle Wiggins (New York: Alfred A. Knopf and Sydney: William Collins Pty Ltd, 1983) Lewis Carroll’s Alice’s Adventures in Wonderland, illustrated by Abelardo Morrell (New York: Dutton Children’s Books, 1998) Lewis Carroll’s Alice’s Adventures in Wonderland, illustrated by Maggie Taylor (Palo Alto, CA: Modern Book Editions, 2008) Lewis Carroll’s Alice’s Adventures in Wonderland and Other Stories, cover illustration by Hugh D’Adrade (New York: Barnes & Noble, 2010) Lewis Carroll’s Alice’s Adventures in Wonderland, illustrated by Yayoi Kusama (London: Penguin Classics, 2012) Lewis Carroll’s Alice in Wonderland, jacket design and illustration by Mr. Boddington’s Studio (New York: Penguin Books, 2012)