Paris: , 1925. Item #02243
Limited French Edition of Kay Nielsen's Hansel and Gretel
[NIELSEN, Kay, illustrator]. GRIMM, [Jacob and Wilhelm]. Fleur-de-Neige et d‚autres contes de Grimm. Illustrations de Kay Nielsen. Paris: L‚Édition d‚Art, [n.d., ca. 1925].
Limited to 2,400 numbered copies. Large quarto. [4, blank], 117, , [1, printer‚s imprint], [5, blank] pp. Twelve mounted color plates, with tissue guards. Title printed in red and black within decorative border in black and gray, thirteen head-piece vignettes, twelve large decorative initials in black and gray, and twelve decorative tail-pieces, all specially designed for this edition by Pierre Courtois. Text within triple lilac rule. Translated by Ch. Guyot.
Original tan pictorial wrappers. A fine copy.
Contains twelve of the twenty-two fairy tales in the English edition: Fleur-de-Neige (Snowdrop), Hansel et Gretel (Hansel and Gretel), Cerise ou La Grenouille Mariée (Cherry, or The Frog Bride), Le Pêcheur et sa Femme (The Fisherman and His Wife), Rose-d‚Épine (Rosebud), La Gardeuse d‚Oies (The Goose Girl), Noir-de-Fumée (Catskin), Saute-Menu (Rumpelstiltskin), Le Vaillant Petit Tailleur (The Valiant Little Tailor), Les Cygnes Blancs (The Six Swans), Le Genévrier (The Juniper Tree), and Les Deux Frères (The Two Brothers).
This edition contains the same twelve color plates as the English edition, but not the ten black and white plates. However, it does contain decorative title border, head- and tail-piece vignettes, and initials not found in the English edition.
Danish illustrator and designer Kay Nielsen (1886-1957) “was drawn early on to fairy tales and illustrated many volumes for Hodder & Stoughton: In Powder and Crinoline (1913), East of the Sun, West of the Moon (1914), Hans Andersen’s Fairy Tales (drawings completed in 1912, but first published in 1924), Hansel and Gretel (1925), and Red Magic (Jonathan Cape, 1930), a collections of fairy tales from around the world. Nielsen’s designs unite strong linearity with delicate colouring…Characterized by a sense of two-dimensional flatness, Nielsen’s objects and people are highly stylized: foxglove blossoms hang in measured asymmetry; princes and princesses stand on improbably long legs; and their garments billow in gravity-defying parabolas. The power of his illustrations lies in his uncanny ability to retrieve a story’s emotional effect on its reader and to recreate it visually in two dimensions” (The Oxford Companion to Fairy Tales).