xix p. 1 l., 430 p., 1 l. 21 cm

Cicely Mary Barker (1895–1973) The books of Cicely Mary Barker have enjoyed an enduring popularity with adults and children alike. Her pictures of nostalgic children and floral sprites are charmingly delicate in detail and exhibit her Christian morality and understanding of nature.Childhood Barker was born on 28 June, 1895 in Croyden, Surrey, England, to Walter Barker and Mary Eleanor Oswald. Walter Barker was descended from a long line of wood carvers, a profession which he also pursued. In 1909, he donated a hand-carved pulpit to the family church, St. Edmund’s in Croydon. His daughter also showed an innate sense of creativity early on, engaging in hours of drawing and painting as a child. She suffered from epilepsy as a child, a condition which disappeared after World War I and never afflicted her again. Because of her illness, she was treated as the baby of the family and overprotected her whole life. In part, this may have contributed to her understanding and portrayal of children in her artwork. Education Due to her delicate condition, her parents thought it best to have her educated at home by governesses. Her father paid for a correspondence course in art which she continued until at least 1919. It provided her with details and the constructive criticism that she needed. He also enrolled her in an evening class at the Croyden School of Art when she was thirteen, which she continued to attend into the 1940’s, eventually earning a teaching position there. Professional Career At age 15, her father took examples of her work to the publisher Raphael Tuck. They were bought by them and published as a set of postcards. The next year, she won second prize in a poster competition run by the Croyden Art Society. She was soon elected to life membership in the Society, becoming their youngest member. Barker had a special relationship with her father. He was proud of her and fond of calling her ‘Ciskin’. After her father’s untimely death in 1912, her older sister, Dorothy, tried to support the family with her small teaching salary. Barker also tried to help by selling poetry and illustrations to magazines such as My Magazine, Child’s Own, Leading Strings and Raphael Tuck annuals. Barker is best-known for her ‘Flower Fairy’ series of books. Fairies were a popular topic at this time, Sir Arthur Conan Doyle’s book The Coming of the Fairies had been published only the year before and included five photographs of fairies taken by two little girls. The photographs had been declared genuine by an expert only to be proven fakes in the 1980’s. Queen Mary was fond of the fairy-themed work of the Australian Ida Rentoul Outhwaite and would send out postcards with her fairy images to her friends. It was also a time when people wanted to escape the harsh realities of progress, and return to a simpler and more innocent pre-scientific age. Barker’s fairies were based on her knowledge of plants and flowers and her artistic studies of real children, each dressed to represent a different flower. The success of her first volume in 1923, which she also wrote, led to the creation of seven more. Barker created a new costume for each of the fairies, carefully taking them apart when she was done in order to reuse the fabric. She never compiled a book of winter flower fairies. It was not until 1985, 12 years after her death, that Flower Fairies of the Winter was compiled from illustrations and poems in her other 7 Flower Fairies books. In 1924 Barker had a studio built in the garden of their home at 23 The Waldrons, which also housed her sister’s kindergarten school. In 1961, she told a Croyden Advertiser reporter, “My sister ran a kindergarten and I used to borrow her students for models. For many years I had an atmosphere of children about me—I never forgot it.” Many of these students appeared as her Flower Fairies until 1940 when her sister closed down the school. After Dorothy died in 1954, Barker designed a stained glass window for St. Edmund’s Church in memory of her sister.Barker was a devout Christian, contributing designs for postcards and greeting cards over the years to the Society for Promoting Christian Knowledge, the Girls’ Friendly Society, and the Society for the Propagation of the Gospel. In 1925, one of these paintings, ‘The Darling of the World is Come’ was purchased by Queen Mary. In addition, she also made paintings for churches, as well as donating paintings to help raise money. She continued to paint until her eyesight began to fail her towards to end of her life. She died on February 16, 1973 at the age of 77 years old. Coincidentally, it was the fiftieth anniversary of the publication of her first ‘Flower Fairy’ book that year. Influences, Style & Technique As a child, Barker was exposed to the books of Kate Greenaway. She spent many hours in bed coloring or painting meticulously in her many Kate Greenaway painting books. Although her children do not seem as melancholy as Greenaway’s, they wear similarly nostalgic clothing in idealized settings. Like Beatrix Potter, she studied flowers with a botanist’s eye. Barker’s style of painting and modeling of her subjects is similar to that of Potter’s, unlike Greenaway’s style which is flat (largely due to the printing process of her books that was used at the time.) Barker was also good friends with Margaret Tarrant (right in photo), another children's book illustrator. Yet Barker gives credit to the Pre-Raphaelites for being her greatest influence (no doubt also influencing Greenaway and Potter). “I am very much interested in the Pre-Raphaelites. I have been, all my life, and I’ve tried to see as much of their work as I possibly can. . . . I am to some extent influenced by them—not in any technical sense, but in the choice of subject-matter and the feeling and atmosphere they could achieve. I very much like, for example, the early paintings of Millais and though he is later, the wonderful things of Burne-Jones.” Two of Barker’s most cherished books were the two-volume set Memorials of Edward Burne-Jones that she received for Christmas in 1920 from her mother. The family also owned The Life and Letters of Sir John Everett Millais which she enjoyed reading.She worked mostly in watercolor with pen-and-ink and sometimes in black-and-white. She was also proficient in oils and pastels. She was in the habit of carrying a sketchbook with her and would quickly sketch any interesting child for future use. “I have always tried to paint instinctively in a way that comes naturally to me, without any real thought or attention to artistic theories.” Raison d’ÊtreThere were two concepts that John Ruskin wrote about in Modern painters—in everything, be truthful to nature and art should serve a high moral or spiritual purpose. It is easy to see that Barker was scrupulous in her attention to detail in her flower-fairy paintings, to the point of matching her models character to the type of flower she was depicting. But Ruskin’s second notion troubled Barker a bit. She did a fair amount of charity work but she always worried that she wasn’t doing enough. She was well aware of the source of her talents and was grateful for her gifts. The suffering she endured as a child served to strengthen her faith and appreciation of the beauty around her. Even though monetary concerns kept her from doing more religious work, she found a way to incoporate her feelings in her secular work by honoring the beauty in nature and showing compassion in her subjects. Cicely Mary Barker (28 June 1895 – 16 February 1973) was an English illustrator best known for a series of fantasy illustrations depicting fairies and flowers. Barker's art education began in girlhood with correspondence courses and instruction at the Croydon School of Art. Her earliest professional work included greeting cards and juvenile magazine illustrations, and her firstBOOK,Flower Fairies of the Spring, was published in 1923. Similar books were published in the following decades. Barker was a devout Anglican, and donated her artworks to Christian fundraisers and missionary organizations. She produced a few Christian-themed books such as The Children’s Book of Hymns and, in collaboration with her sister Dorothy, He Leadeth Me. She designed a stained glassWINDOW for St. Edmund's Church, Pitlake, and her painting of the Christ Child, The Darling of the World Has Come, was purchased by Queen Mary. Barker was equally proficient in watercolour, pen and ink, oils, and pastels. Kate Greenaway and the Pre-Raphaelites were the principal influences on her work. She claimed to paint instinctively and rejected artistic theories. Barker died in 1973. Though she published Flower Fairy books with spring, summer, and autumn themes, it wasn't until 1985 that a winter collection was assembled from her remaining work and published posthumously. Barker was born the second daughter and youngest child of Walter Barker, a partner in a seed supply company and an amateur artist, and his wife Mary Eleanor (Oswald) Barker on 28 June 1895 at home at 66 Waddon Road in Croydon, Surrey, England. Barker was an epileptic as a child, and cared for at home by her parents. Later, her sister and elder by two years, Dorothy Oswald Barker, continued the care.[1] The family of four was moderately well off, and belonged to the lower end of the upper middle class. A nanny, a governess, and a cook to prepare special meals for Barker were hired. She spent much time in bed at home amusing herself with painting books and a nursery library that included the works of Kate Greenaway and Randolph Caldecott – two artists who exerted strong influences on her later art.[1] Barker took correspondence courses in art, probably until about 1919. In 1908 at 13 years, she entered an evening class at the Croydon School of Art, and attended the school into the 1940s. In time, she received a teaching position.[2] In 1911, Raphael Tuck & Sons bought four of Barker's "little drawings" for half a sovereign,[3] and published them as postcards. In October 1911, she won second prize in the Croydon Art Society's poster competition, and shortly afterward was elected the youngest member of the Society.[2] The art critic for the Croydon Advertiser remarked, "Her drawings show a remarkable freedom of spirit. She has distinct promise."[4] Following her father’s death in June 1912, the seventeen-year-old Barker submitted art and poetry to My Magazine, Child’s Own, Leading Strings, and Raphael Tuck annuals in an effort to support both her mother and sister.[2] Her sister Dorothy taught kindergarten in two private schools before opening a kindergarten at home. She brought in some money for the family's support while supervising the household.[5] Fairies became a popular theme in art and literature in the early 20th century following the releases of The Coming of the Fairies by Sir Arthur Conan Doyle, Peter Pan by J.M. Barrie, and the fairy-themed work of Australian Ida Rentoul Outhwaite. Queen Mary made such themes even more popular by sending Outhwaite postcards to friends during the 1920s. In 1918, Barker produced a postcard series depicting elves and fairies.[2][4] In 1923, Barker sent her flower fairy paintings to various publishers. Blackie paid £25 for 24 paintings with accompanying verses, but it wasn't until publication of Flower Fairies of the Summer in 1925 that Barker receivedROYALTIES for her work. Mary Violet Clayton Calthrop, wife of author Dion Clayton Calthrop, wrote in April 1925 about Barker and Flower Fairies of the Spring: "She has such exquisite taste, besides draughtsmanship."[6] In 1924, the family moved into a four-level, semi-detached Victorian house at 23 The Waldrons. Barker had a studio built in the garden and her sister conducted a kindergarten in a room at the back of the house. The family lived frugally and attended both St. Edmund's and St. Andrew's in Croydon – "low" churches for the less privileged. Barker sometimes incorporated portraits of her fellow parishioners in her religious works.[7] She was described byCANON Ingram Hill as "one of the pillars" of St. Andrew's.[4] The children in the kindergarten modelled for the Flower Fairies until the kindergarten closed in 1940.[2] In an interview in 1958, Barker said, "My sister ran a kindergarten and I used to borrow her students for models. For many years I had an atmosphere of children about me – I never forgot it."[4] She also painted the children of relatives as well as Gladys Tidy, the Barkers' young housekeeper, who posed for the Primrose Fairy in 1923.[4] The plants were painted from life, and if a specimen was not readily at hand, Kew Gardens staff would provide her the specimens needed. Barker designed and built the Flower Fairy costumes, and based each on the flowers and leaves of the particular plant to be illustrated. The costumes were kept in a trunk in her studio along with wings made of twigs and gauze. Each was broken down after an illustration was completed and the parts recycled for other costumes. She oftenREFERRED to Dion Clayton Calthrop's English Costume.[4] In the late 1920s, Barker began to doubt she was doing enough for the church and considered focusing solely on sacred works. Family and friends recommended she continue secular and sacred works, which she did.[8] Barker continued to attend evening classes at the Croydon Art School between the 1920s and the 1940s, eventually receiving a teaching position. She took sketching trips toAmberley and Storrington in Sussex and to Cornwall and the southern coast with family and friends. She visited and stayed with artist Margaret Tarrant in Gomshall, Surrey and with family in Ugglebarnby, Near Whitby, North Yorkshire. In 1940, the Barker's live-in maid retired, and Dorothy Barker closed her school at the back of the house in The Waldrons. She continued to supervise the household, and to give both her mother and sister the care they needed. Dorothy and her sister collaborated upon only twoBOOKS: Our Darling's First Book and the Christian-themed, He Leadeth Me. In 1954 Dorothy Barker died of a heart attack. Barker was unable to pursue her art to any significant extent following her sister's death, as all the care of her aged mother devolved upon her, but she did manage toBEGIN planning a stained glass window design in her sister's memory for St. Edmund's, Pitlake.[ Barker's mother died in 1960, and, in 1961, Barker moved from 23 The Waldrons to 6 Duppas Avenue in Croydon. She restored a maisonettein Storrington, Sussex, England, bequeathed by her friend Edith Major, and named it St. Andrew's. After taking up residence, her health began to deteriorate. She was in and out of nursing and convalescent homes, and tended by relatives and friends.[10] Barker died at Worthing Hospital on 16 February 1973, aged 77 years.[2] Two funeral services were held – one in Storrington Church and one in Barker's maisonette. Her ashes were scattered in Storrington churchyard.[10] In 1989, Frederick Warne, a division of Penguin Books since 1983, acquired the Flower Fairies properties. Barker worked principally in watercolor with pen-and-ink, but she was equally competent in black-and-white, in oils, and in pastels. She carried a sketchbook with her for capturing interesting children. She onceINDICATED, "I have always tried to paint instinctively in a way that comes naturally to me, without any real thought or attention to artistic theories."[2] Kate Greenaway was a childhood favorite and an influence on her art. Barker's child subjects wear nostalgic clothing as Greenaway's children do, though Barker's children are less melancholy and less flat in appearance, due perhaps to advances in printing technology. Barker studied flowers with an analytical eye and was friend to children's illustrator, Margaret Tarrant.[2] Along with Greenaway, illustrator Alice B. Woodwardalso influenced Barker's work.[12] The Pre-Raphaelites were a strong, lifelong influence on Barker.[4] She onceINDICATED, "I am to some extent influenced by them—not in any technical sense, but in the choice of subject matter and the feeling and atmosphere they could achieve." She admitted a fondness for the early paintings of John Everett Millais and "the wonderful things" of Edward Burne-Jones Barker's sketches, drawings, and paintings of children were given to friends or to the parents of the subjects, donated to charitable institutions and church sponsored events, or exhibited through various art organizations. She illustrated magazine covers, dust jackets, and produced series of postcards for Raphael Tuck and other publishers such asPicturesque Children of the Allies (1915), Seaside Holidays (1918), and Shakespeare's Boy and Girl Characters (1917, 1920). Her own Old Rhymes for All Times (1928) andThe Lord of the Rushie River (1938), a tale about a girl who lives among swans on a riverbank, were critically well received. Set about 1800, Groundsel and Necklaces (1943) tells of a girl named Jenny who rescues her family from poverty through the agency of the fairies. The story features an old Scrooge-like man called Mr. Petercoo and tonally suggests a Dickensian social consciousness. Simon the Swan, intended as a sequel to Rushie River was outlined in 1943 with Groundsel, but only developed in 1953. It was published posthumously in 1988 and is critically considered less successful than Groundsel Barker was a devout Christian, and produced religious-themed works throughout her life. She published eight postcards and five guardian angel birthday cards for the Society for Promoting Christian Knowledge in 1916 and in 1923 respectively. Christmas cards were designed for The Girls' Friendly Society over a 20-year period, and the first three designs sold out a combined printing of 46,500 in 1923. An original design for the society called The Darling of the World Has Come was purchased by Queen Mary for ₤5.5.0 in 1926. The Croydon Art Society hung Barker's booklet cover design for the Society for the Propagation of the Gospel in its November 1919 exhibition.[14] Religious-themed books include The Children'sBOOK of Hymns (1929) and He Leadeth Me (1933), the latter written in collaboration with her sister. Major religious works include the triptychs in oil, The Feeding of the Five Thousand (1929), for the chapel in Llandaff House, a home for destitute women at Penarth, Wales, and The Parable of the Great Supper (1934) for St. George's Chapel, Waddon.[4] The Feeding has since disappeared, and only a black-and-white photograph dated 1929 reproduces the work.[15] In 1941, she completed oil panels on the subject of the seven sacraments for the baptismal font at St. Andrew's, South Croydon. She designed baptismal rolls for the wall behind the font in 1948 and 1962. In 1946, she completed the 4 x 7 ft. oil painting, Out of Great Tribulation, for the Memorial Chapel of Norbury Methodist Church. Following the death of her sister in 1954, Barker began designs for a stained glass memorial window depicting Christ preparing to wash the feet of his disciples. Her last religious-themed work, it wasINSTALLED in St. Edmund's, Pitlake, in 1962 A little book of old rhymes Deep sleeps the winter, Cold, wet, and grey; Surely all the world is dead; Spring is far away. Wait! The world shall waken; It is not dead, for lo, The Fair Maids of February Stand in the snow!

A collection of sixty-six Old English fairy tales, fables, romances, poems, and nursery rhymes

126 p. incl. front., illus. 19 cm

319 p. 20 cm

Antique 1896 Children’s Story, Picture and Rhyme Book “Happy and Gay They Circle Old Tray”!!! 1st Edition W. B. Conkey Company Chicago/New York. This Kool old book is in very good condition for 127 years old and being a children’s book!!! The book pages have separated from the cover but the pages are all there and look amazing and not bent like it was never read. The pages are in very good condition for 123 years old and feel very old!!! The book is inscribed in amazing beautiful script handwriting being gifted from a teacher Mae E. Bisby to her student Lawerance Goode. Dec. 1896. What an Awesome Find for any collection!!!

Fifty-two of the tales including The straw, the coal, and the bean and The knapsack, the hat, and the horn

This is an excellent resource for vintage children’s books.

Translation by C.M. Yonge, of Les clients d'un vieux poirier

Book from Project Gutenberg: The House With Sixty Closets: A Christmas Story for Young Folks and Old Children

Imperfect copy: covers and all after p. 80 wanting

In verse

Oh, the good old children’s classics. We all remember those heartwarming kid’s books just like they were yesterday. Well, turn the page on your memory. These