These children's book covers are from the late 1800's. If you want to see more, the Baldwin Library of Children's Literature (at the University of Florida) has a digital archive of children's books that you would not believe:"This is the product of Ruth Baldwin's 40-year collection development efforts. A great strength of the collection is the many English and American editions of the same work. Other strengths of the collection include 300 editions of Robinson Crusoe, 100 editions of Pilgrim's Progress, fables, juvenile biography, 19th century science and natural history, 19th century alphabet books, moral tales, fairy tales, 19th century juvenile periodicals, 19th century boys' adventure stories, 20th century boys' and girls' series, Little Golden Books, and juvenile publications of the American Sunday School Union and other tract societies."
Have fun looking, you won't be sorry-
I don't know why I hadn't run across this blog before. Thanks to STWALLSKULL, I just spent half hour checking it out. And you should, too, because there are all kinds of fun, retro links and images on here: Easy Dreamer Blog
"Feed the Kitty" sculpture by artist Amy Crehore - used for the Hokum Scorcher's tip jar
I love the sad look on this lion. Have you ever noticed that cats' faces are usually sad-looking? Unless they are yawning...then they look like they are laughing. Book cover image 1880 and an inside page from "The Alphabet of Animals" by Ernest Griset. From Baldwin Library, U. of FLA - a vast resource of children's books.
The Studio Magazine 1925
J. Kirilenko 1944
These children's book covers are from the late 1800's. If you want to see more, the Baldwin Library of Children's Literature (at the University of Florida) has a digital archive of children's books that you would not believe:
These images are in the collection at the Metropolitan Art Museum. Here is a description of "Two Standing Nudes" 1850 by Félix-Jacques-Antoine Moulin from the Met site- 'Although Moulin was sentenced in 1851 to a month in jail for producing images that, according to court papers, were "so obscene that even to pronounce the titles … would be to commit an indecency," this daguerreotype seems more allied to art than to erotica. Absent are the boudoir props, gaudy jewelry, and provocative poses typical of handcolored pornographic daguerreotypes and the stiffly held classical poses of photographic "academies" ostensibly intended for artists as substitutes for the live model. Instead, Moulin depicted these two young women utterly at ease, as unselfconscious in their nudity as Botticelli's Venus.'
