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Alice Through the Looking-Glass and What Alice Found There - Signed Limited edition Nr 33 of 48 with the Additional Prints
Oxfordshire: Inky Parrot Press, 2001 Book. Fine. Hardcover. First Edition, 2001, Very Good Condition: Green Leather Spine Discoloured, 8vo, 270 x 180 mm, 10½ x 7 inches, Hardcover Quarter Leather Original Publisher's Black Boards in Slipcase, 122 pp + 8 Prints in Blue Folder Limited Edition of 420 Copies; THE FIRST 48 COPIES HAVE AN ADDITIONAL SET OF PRINTS, as does this one. This is Nr 33 of the 48. Foreword about Franciszka Themerson's drawings by Jasia Reichardt. Afterword by Graham Ovenden, both have signed the book on the limitation page at rear of book. The book is typeset in Sabon by Charles Hall and printed litho by BAS Printers on Gardapat paper, bound by the Fine Bindery. Franciszka Themerson was born in Warsaw in 1907 into an artistic family. Her father, Jacob Weinles, was a painter of large-scale tragic-heroic scenes from the life of the Jewish community, her mother was a pianist. Her sister also became an artist. Franciszka first studied music at the Warsaw Academy of Music and then, from 1924 to 1931, painting and graphic design at Warsaw Academy of Fine Art. Franciszka's drawings of the post-war period, the middle to late 1940s, reveal the effect that the hostilities had had on her work. She explored a diverse range of styles while she sought her own personal way of artistic expression. The drawings for her Looking-Glass, for instance, are more controlled and precise than her looser but more biting illustrations for Jarry's Ubu Roi, first attempted only two years later. Looking-Glass has the studied inventiveness of line that one finds in the work of Paul Klee: Ubu Roi owes more to the political invective of Georg Grosz. Alice is portrayed in black line referring back directly to Tenniel's engravings, contrasting with the flat, two-dimensionality of the other characters in the story, printed in soft red or blue outline (to depict the red or white of the chess pieces). Unexpectedly, the hard, precise line and cross-hatching of Alice makes her appear softer and more vulnerable against the almost pastel hues of the other cast members. Although the drawings appear childlike, this deceptive simplicity is based on consummate draughtsmanship. The drawings are designed to complement the text, the perspective and viewpoint carefully chosen to fit and extend the page. Care has been taken in the design of the book and the presentation of the images. Alice climbs through the mirror from one page to emerge onto the next, an indulgence seldom recognised in Tenniel's early editions and even less often repeated since. The value of space has been recognised. Although avant-garde for their time, the drawings can now be seen as very much of their time. .
      [Bookseller: Anglo Dutch Books]
Last Found On: 2017-06-14           Check availability:      Biblio    

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