The Original Illustrated Alice in Wonderland

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Hancher, Michael (1985). The Tenniel illustrations to the Alice Books. Columbus: Ohio State University Press. ISBN 978-0-8142-0408-5. OCLC 10800589. Archived from the original on 1 April 2016. According to Lewis Carroll, Tenniel also drew the rattle the wrong way. In a letter to Henry Savile Clark, dating November 29, 1886, Carroll states that Tenniel had drawn a watchman’s rattle (used to sound an alarm) in stead of a child’s toy rattle. He was certain that the latter was meant in the old nursery rhyme ( Gardner 227). Another change in style was his shaded lines. These transformed from mechanical horizontal lines to vigorously hand-drawn hatching that greatly intensified darker areas. This] is the copy of Alice's Adventures you keep after having given all the other celebratory variants away . . . it comes with two very astute and well-illustrated introductions. . . . It is, as the introductions state, as both creators would like to see it—two weird and/or wonderful minds with much in common, harmonizing across the centuries to result in this very handsome modern edition."—John Lloyd, The Bookbag

Jaques, Zoe; Giddens, Eugene (2012). Lewis Carroll's Alice's Adventures in Wonderland and Through the Looking-Glass: A Publishing History. Routledge. p.202. When Alice meets the Cheshire Cat sitting in a tree, he vanishes and reappears again at once. When Alice walks on, he reappears again on a branch. This time, he disappears more slowly, on Alice’s request. However, the picture of this slow vanishing shows the Cheshire Cat sitting in exactly the same tree as he was in when Alice met him before walking on. Palmer, Robert (14 November 1993). "Tom Waits, All-Purpose Troubadour". The New York Times. ISSN 0362-4331. Archived from the original on 5 February 2022 . Retrieved 5 February 2022. Elenore Abbott (with the Tenniel illustrations), George W. Jacobs & Co., no date (c. 1920, the date of a personal inscription in this copy), The Washington Square ClassicsThat doesn’t mean Tenniel’s illustrations were exactly what Carroll described they should be. Tenniel had quite a lot of freedom to give his own interpretation to the illustrations. On several occasions, Carroll was very much willing to accept the artist’s ideas, and in the illustrations the typical style of Tenniel is recognizable. Tenniel had some freedom in selecting the scenes to be illustrated ( Hancher), and when Tenniel complained about having to draw a Walrus and a Carpenter, Carroll was willing to change the characters of his poem for him. Hahn, Daniel (2015). The Oxford Companion to Children's Literature (2ded.). Oxford University Press. ISBN 978-0-19-174437-2. OCLC 921452204. Wakeling, Edward (2014). Lewis Carroll: the man and his circle. London: I.B. Tauris. ISBN 978-1-78076-820-5. OCLC 898028481.

Gordon, Colin (1982). Beyond the Looking Glass: Reflections of Alice and Her Family. Harcourt Brace Jovanovich. ISBN 0-15-112022-6. OCLC 9557843. Lewis Carroll, Alice's Adventures in Wonderland & Through the Looking-Glass. Edited by Roger Lancelyn Green. Illustrated by John Tenniel. Oxford: Oxford UP, 1971In chapter 1 we are told: “[…] she found herself in a long low hall, which was lit up by a row of lamps hanging from the roof.” In Tenniel’s illustration of Alice and the White Rabbit running through this hall, no lamps are visible however. Pat Andrea, published by Editions Diane de Selliers in 2006 (bilingual French and English edition of both Alice and Looking-Glass)

About Tenniel". Sir John Tenniel's Alice in Wonderland. GoldmarkArt.com. Archived from the original on 4 June 2004. J. Francis Gladstone and Jo Elwyn-Jones, The Alice Companion Palgrave Macmillan, 1998. ISBN 9780333673492 The English composer Joseph Horovitz composed an Alice in Wonderland ballet commissioned by the London Festival Ballet in 1953. It was performed frequently in England and the US. [122] A ballet by Christopher Wheeldon and Nicholas Wright commissioned for The Royal Ballet entitled Alice's Adventures in Wonderland premiered in February 2011 at the Royal Opera House in London. [123] [124] The ballet was based on the novel Wheeldon grew up reading as a child and is generally faithful to the original story, although some critics claimed it may have been too faithful. [125] Gerald Barry's 2016 one-act opera, Alice's Adventures Under Ground, first staged in 2020 at the Royal Opera House, is a conflation of the two Alice books. [126] Commemoration [ edit ] Stained glass window of Alice characters (King and Queen of Hearts) in All Saints' church, Daresbury, Cheshire Alice's Adventures in Wonderland [exhibition item]". University of Maryland Libraries. Archived from the original on 24 November 2021 . Retrieved 13 January 2023.

Alice is full of linguistic play, puns, and parodies. [45] According to Gillian Beer, Carroll's play with language evokes the feeling of words for new readers: they "still have insecure edges and a nimbus of nonsense blurs the sharp focus of terms". [46] The literary scholar Jessica Straley, in a work about the role of evolutionary theory in Victorian children's literature, argues that Carroll's focus on language prioritises humanism over scientism by emphasising language's role in human self-conception. [47] You Are Old, Father William"—a parody of Robert Southey's " The Old Man's Comforts and How He Gained Them" [36] At the beginning of the story, Alice muses about the importance of illustrations in capturing a reader’s attention and imagination. Unusual for British children’s literature during the Victorian era, Carroll’s tale is neither moralistic nor instructional. Alice’s Adventures in Wonderland and Through the Looking-Glass were part of a burgeoning literary genre which aimed to capture a child’s imagination, often through the use of illustrations. The result is a timeless tale, recognized across the world for its artistry and wordplay. Tove Jansson, Swedish edition, 1966; first English-language edition published in 1977 by Delacorte Press, New York; first UK edition by Tate Publishing in 2011 Auction Record for an Original 'Alice' ". The New York Times. 11 December 1998. p.B30. Archived from the original on 9 November 2016 . Retrieved 14 February 2017.