The Illustrated Alice in Wonderland (The Golden Age of Illustration Series)

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Some doubt has been expressed as to whether Tenniel was personally responsible for the coloring of the illustrations to The Nursery “Alice”, largely because of the advertisement which appeared in the 1886 facsimile edition of Alice’s Adventures Under Ground (and later in the 1887 ‘People’s Edition’ of Alice) that announced The Nursery “Alice” as “in preparation”: “Being a selection of twenty of the pictures in Alice’s Adventures in Wonderland enlarged and coloured under the Artist’s superintendence, with explanations.” It seems likely, however, that this simply refers to Tenniel’s supervision of Edward Evans’ colour printing. ( Sibley 92) When The Nursery “Alice” was printed, Carroll rejected the first copies because of the coloring of the illustrations. He wrote the following to Macmillan, on June 23, 1889: Alice in Wonderland has been one of my favorite books my entire life. I dressed as Alice as a little girl and the Mad Hatter as an adult. The Mad Hatter’s Tea Party was the theme of my Bachelorette Party, with one of my bridesmaids jumping out of the bathroom in a full White Rabbit Costume. Most recently, my husband and I went to Oxford, UK, to follow in the footsteps of the complicated creator of the Alice books, Lewis Carroll. The journey began at Folly Bridge, Oxford, and ended 5 miles (8.0km) away in Godstow, Oxfordshire. During the trip Carroll told the girls a story that he described in his diary as "Alice's Adventures Under Ground" and which his journal says he "undertook to write out for Alice". [9] Alice Liddell recalled that she asked Carroll to write it down: unlike other stories he had told her, this one she wanted to preserve. [10] She finally received the manuscript more than two years later. [11] Gardner, Martin (1993) [1960]. The Annotated Alice. Bramhall House. ISBN 0-517-02962-6. OCLC 33157612.

The picture he referred to in the last line was the illustration of the Queen of Hearts pointing at Alice. Carroll thought her face was much too red ( Gardner).Gänzl, Kurt (2001). The Encyclopedia of the Musical Theatre. Vol.1 (2ded.). Schirmer Books. pp. 28–29. ISBN 0-02-864970-2. OCLC 45715912. St. John, Judith, ed. (1975). The Osborne Collection of Early Children's Books: A Catalogue. Toronto Public Library. ISBN 0-919486-25-8. OCLC 2405401. Taylor, Robert N., ed. (1985). "Lewis Carroll at Texas". The Library Chronicle of the University of Texas at Austin. Harry Ransom Humanities Research Center; University of Texas at Austin. ISSN 0024-2241. Straley, Jessica (2016). "Generic variability: Lewis Carroll, scientific nonsense, and literary parody". Evolution and Imagination in Victorian Children's Literature. Cambridge University Press. pp.86–117. doi: 10.1017/cbo9781316422700.004. ISBN 978-1-316-42270-0.

Reid, Forrest. Illustrators of the Eighteen Sixties: An Illustrated Survey of the Work of 58 British Artists (1928). New York: Dover Publications, 1975. The influence Tenniel had on Carroll is illustrated by the fact that Carroll recalled the first edition of his book, only because Tenniel expressed dissatisfaction about the quality of the printing of the pictures. Also, Carroll dropped an entire chapter from his book on Tenniel’s suggestion. 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]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 While Sewell appears to have done several illustrations, I’d like to focus on his illustrations for 1975 Alitjinya ngura Tjukurtjarangka / Alitji in the Dreamtime translated by Nancy Sheppard into Pitjantjatjara. It’s called Aboriginal Alice but the illustrations are quite unique. University of Maryland notes: “Byron’s illustrations are brilliantly modeled on the mystical bark painting of the indigenous peoples of the Northern territory.” The white rabbit has become a kangaroo with a watch inside his belly. Jan Švankmajer Sulcas, Roslyn (1 March 2011). "Alice on Her Toes, at a Rare Tea Party". The New York Times. ISSN 0362-4331. Archived from the original on 9 November 2016 . Retrieved 25 January 2022. Fanny Y. Cory, first Alice in 1902, then a combined Alice and Looking Glass in 1905. Both by Rand McNally. Schwab, Gabriele (1996). The Mirror and the Killer-Queen: Otherness in Literary Language. Indiana University Press. ISBN 0-585-00124-3. OCLC 42854066.

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. Garland, C. (2008). "Curious Appetites: Food, Desire, Gender and Subjectivity in Lewis Carroll's Alice Texts". The Lion and the Unicorn. 32: 22–39. doi: 10.1353/uni.2008.0004. S2CID 144899513.Alice's Adventures in Wonderland (commonly Alice in Wonderland) is an 1865 English children's novel by Lewis Carroll, a mathematics don at Oxford University. It details the story of a young girl named Alice who falls through a rabbit hole into a fantasy world of anthropomorphic creatures. It is seen as an example of the literary nonsense genre. The artist John Tenniel provided 42 wood-engraved illustrations for the book. Rare Manuscripts". Life. Vol.20, no.15. 15 April 1946. pp.101–105. Archived from the original on 24 January 2022 . Retrieved 24 January 2022.