Abstract

The color artistry of these cards is outstanding. They are simply lovely. I would love to figure out for what they were made.

Abstract

The color artistry of these cards is outstanding. They are simply lovely. I would love to figure out for what they were made.

Abstract Some significant effort went into developing this set of cards. Each front illustration advertises a different Nestlé product, and the verso works cleverly to view the human situation on the front of the card in terms of a fable named at the top of the verso. Thus one card's verso recalls the story of the laborer who entices his children – albeit after his death – to dig into the family farm. Work, not luck, brings success. The front of the card showed a family grouping where children...

Abstract

Simple thin cards with nothing on the verso. The image side of the card has "Collection Ibled" at the top along with a number ranging from #304 to #582. The style is sometimes reminiscent of Benjamin Rabier. The design of the illustrations of these cards does not replicate the design on the "Collection Ibled" black-and-white cards, which are otherwise in the same format.

Abstract After finding the two colored cards, I noted that Rabier is easily distinguished by the smile -- or smirk? -- on the fox's face in FS. Ten of the uncolored cards picture known fables. I will display them at the top of the second table below. Others may well be drawn from the diverse other children's books Rabier created. The combination of cheap paper, large cartoon, and small colored portion is unique, in my experience. Each card proclaims that this remedy "calms a cough, disinfects...

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This may be our best preserved set of Liebig's first fable set. Albert has them listed as from 1883. I think the usual date given is 1884. Now I am tempted to invest in an English language set available on Ebay. The collector's urge is hard to repress!

Abstract

These cards are unusual in having mostly print on the "image" side of the card. There is a full text of La Fontaine's fable on each verso. The verso of several is crudely cut. The cards are arranged in French alphabetical order.

Abstract In the first image, a little girl seems to be putting coins into a stocking while a little boy watches. This seems the "before" of the story itself, establishing that the couple is poor. The second scene shows the young man delighted to have found a golden egg. The young man believes in the third scene that this black hen contains a whole treasure. The fourth card introduces the sinister knife with wondrous eagerness! In the fifth scene, the hen lies dead and the two humans grieve. Now...

Abstract

These cards are unusual for their very lively and simple color schemes. OF may make the strongest visual statement. "Le Rat retiré du Monde" typifies the simple, even romantic approach to the fables here.

Abstract Several of these designs appear on papers and cards listed under "Leopold Verger-Chicoree Haquet" and, among chocolate and chicoree cards, "Maison Salmon." And two listed there actually are identical cards with this set. Bertrand describes them as "Babotte," but I can see indications only of Picard. It is true that our collection includes several cards from "Alph. Babotte," and the images are those of this group. One of my favorite Paris used bookshops is Librairie Picard. I wonder if...

Abstract "Cards" is an overstatement for these 2½" x 3½" slips of paper. On one side is a colored illustration, title, and number. On the verso is the text of the fable and, after #96, an indication that there are two albums to be filled out, Album No. 1 for Fables #1-#96 and Album No. 2 for Fables #97-#192. Of course, the collector in me is already wondering where I can find the two complete albums. The color work is sometimes better than one would expect for a simple effort like these...

Abstract A colored circle stands under a red title and over a shadowy white-and-gray scene from the same fable. The interplay between the two scenes makes these some of the loveliest fable trade cards I have seen. Perhaps the best of them shows the horse and the exhausted ass in the colored circle and then, in the larger picture, the horse carrying the hide and burdens of the ass. It is no surprise that the driver raises his whip now to the beleaguered horse! Where, I ask, is that second card in the...

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Here is a set I have not seen before. The artist's name seems to be "Forguet, perhaps with a first initial of "R." Lively cartoon scenes!

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Several years ago I found a full set of Wemple/Kronheim cards with green backgrounds after struggling to find eight individual cards. They bear no markings besides the fable's name in French. The card lacking from the second set is FM. The gold background invites scratches. Some of the printing here is not exact. The versos are all blank.

Abstract

Simple thin cards with nothing on the verso. The image side of the card has "Collection Ibled" at the top along with a number ranging from 375 to 531. The style is sometimes reminiscent of Benjamin Rabier.

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These seven cards are a pleasant surprise. Shreddies are apparently a Post production in the British Commonwealth. Bilingual cards make a great deal of sense in Canada. The fables on the two sides of the cards are not identical. In fact, none of the twelve fables overlap. The cards show a nice variety in their visual arrangements and even styles. The lower right features a short bio and a bust of the author on each page of his series.

Abstract I recognized this image immediately. It was done by Jean Mercier and appeared on menus for Compagnie General Transatlantique. In fact, that menu appeared in the Joslyn Museum exhibit of this collection in 2018. Its most unusual feature is the oversized fly apparently sitting on the paper. The fly is so insignificant, despite his own ideas of his accomplishment, that he does not appear otherwise in the image. One is tempted to whisk him away in order to look at the picture! The...

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This card replicates one advertising "Aux Deux Passages." A surprising thing is that Chocolat Poulain used various kinds of fable cards to advertise. The curtsy here that invites the cicada to dance is beautifully rendered but downright mean!

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The color work in this card is exceptional. Boudier claims awards 1867-1878. The image is a clear reference to the two mice or rats with an egg, but what is the chick doing in the picture? Advertising on the verso. No reference to La Fontaine or the fable.

Abstract The Remontey card is labeled "2" and the "Au Gagne Petit" card is labeled "A." I presume that the former follows a summertime card and precedes the approach to the ant's door in the "Au Gagne Petit" card. Though the formats differ slightly the coloring of the cicada's clothing seems to indicate that these two images are part of the same series. It is not clear that Card #3 belongs in t his series, even though the cicada's clothing seems consistent throughout the four images. #1, #2, and...

Abstract Each of the colored pictures here includes a quadrangular text of the fable from La Fontaine or, in the one case noted above, Florian. It also includes five circles arranged in relation to a major illustration of the story. Bergougnan seems to have been a major seller of rubber products, especially for automobiles. The cards frequently advertise Caoutchouc. Thérèse Boutigny is advertised as "Marchande de Mode" in Amiens. The two Boutigny cards were printed byi PaulVallier, Clermont FD...

Abstract Each of the colored pictures here includes a quadrangular text of the fable from La Fontaine or, in the one case noted above, Florian. It also includes five circles arranged in relation to a major illustration of the story. Bergougnan seems to have been a major seller of rubber products, especially for automobiles. The cards frequently advertise Caoutchouc. Thérèse Boutigny is advertised as "Marchande de Mode" in Amiens. The two Boutigny cards were printed byi PaulVallier, Clermont FD...

Abstract The human scenes are provocative, as when a prince, living out WL, condemns a handcuffed human being to the executioner in the presence of some natives. "Le Lion Amoureux" uses Samson and Delilah for its human scene, just as OR uses David and Goliath. In FG, the amputee on crutches can only look at the beautiful well-dressed woman as he passes by. The text of La Fontaine's fable is on the back side of the "Au Printemps " (AP) and other Bouillon & Rivoyre (BR) cards. Several with " L....

Abstract "Cards" is an overstatement for these 2½" x 3½" slips of paper. On one side is a colored illustration, title, and number. On the verso is the text of the fable and, after #96, an indication that there are two albums to be filled out, Album No. 1 for Fables #1-#96 and Album No. 2 for Fables #97-#192. Of course, the collector in me is already wondering where I can find the two complete albums. The color work is sometimes better than one would expect for a simple effort like these...

Abstract For small illustrations apparently done cheaply, the effect is remarkably good here. In DLS, is the young mule-master actually smiling over the mule's antics? The terrified man who has seen a camel for the first time is well done! The scolding schoolmaster is well done. The signature of Rougeron-Vignerot is hard to decipher here. I appreciated help on the web. Both the position and the posture of the wolf looking down on the lamb just emerging from the water are well chosen. This wolf...