Abstract The five scenes in these postcards, acted by children, communicate a severe handling of the cicada. In the last scene, she is lying disconsolate as the "ant" directs her to go dance in winter. Spinning wheel and guitar characterize these two. Each card's front contains a few verses of the fable in red. I am amazed to have found a full set of these cards through the generosity of Bertrand and his family. Bergeret apparently moved out to present one fable in a series of photographs after...

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The color schemes are strong here. Each of the paintings seems to suppose knowledge of the fable; it would be hard to deduce the fable from the rather static picture. Each card (except for CJ) gives a title above its painted picture and a key line below it.

Abstract Good color work in these cards notable for their unevenly cut edges. One can ask what the purpose is of having the children play the adult roles in some of these fables. In "The Oyster and the Litigants" there may be something adult and even erotic about these children. In WL, it makes sense that the bigger boy can take what he wants from the little girl. Is the fox in FG a male putting down females above? One might also ask questions about how the figures in MSA fit together. Does...

Abstract Good color work in these cards notable for their unevenly cut edges. One can ask what the purpose is of having the children play the adult roles in some of these fables. In "The Oyster and the Litigants" there may be something adult and even erotic about these children. In WL, it makes sense that the bigger boy can take what he wants from the little girl. Is the fox in FG a male putting down females above? One might also ask questions about how the figures in MSA fit together. Does...

Abstract Excellent, vibrant color work! Cursive titles underneath the pictures serve as a distinguishing mark for this set. My favorites include "Le Gland ete la Citrouille," which features wonderful striped stockings and wooden shoes on the philosophical bumpkin. The hare's bugle and ball on TH suggest that he may not have been entirely focussed on this race! The cat as monk ready to devour both the hare and weasel is all the more sinister because his face is completely black except for the...

Abstract The characteristic feature of this set is a rectangular or near-rectangular inset "Fables de La Fontaine" and the title of the individual card. The two cards not signed by Dascher seem to be signed by "HBGI." They are in a different style. These two are WC and FC. The Dascher cards are "The Fox and the Goat"; "The Thieves and the Ass"; "The Monkey and the Leopard"; and "The Wolf Become a Shepherd." A trade card from Nouvelles Galeries in Saumur is so similar that I include it here as...

Abstract "A la Marquise de Sévigné." The image of FS has the fox slinking away while the stork reaches into the tall vase. WC, WL, and WS all have nicely colored small pictures, and all have the verse text of La Fontaine underneath. I am not sure that I have seen a card as narrow in one direction and as long in the other. One can probably date this card because it allows half of the verso for "correspondence." Earlier cards left the whole verso for the address of the recipient. These cards...

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At the top of each card is"Fable de La Fontaine" and at the bottom the title of the individual fable. Between these two is in each case a colorful, playful children's picture. In FC, the red eyes of the fox, which match his red scarf, are very expectant. In the other three, birds, butterflies, and ladybugs serve as spectators to the scenes.

Abstract The approach of these cards is similar to those Bergeret phototypes, "Bébé Fabulist," and "Perrette Montrut, presumably from the same period. These include the appropriate verses of the fable with each picture. As with them, the message goes on the picture side of the postcard. The verso is entirely for stamp and address. Each card is signed by "Berthe" and several have endearing messages. The scene is portrayed entirely by children. The "pot" of milk has a curious tall shape here,...

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This was my first find at the Paris Post Card Exhibition. I do not understand the verso of the title-card: "Série de 50 cartes (1000 ex.)." I understand better the verso of each of the six cards in this set: "Tirage limité exemplaires 90." The text used in the cards is perfectly faithful to La Fontaine. This is a lively and lovely set! One card done by André le Guilloux was part of the same Salon show in 2003 as presented "Le Coq et le Renard."

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The verso of these cards has room for only an addressee.

Abstract "Le Lion devenu vieux." G. Klein (?). Editions E.D.F.Highly colorful and unusually designed card. The characters extend beyond the L-shaped section for the picture. Longhand presentation of the fable, signed by J. de La Fontaine. Verso is not written upon at all. "Le Renard et les Raisins." G. Klein (?). Editions E.D.F. The grapes are presented against a background of multicolored leaves. The fox's paw and tail extend just slightly into the...

Abstract This is an active and colorful oversized postcard. Under the dynamic cartoon of TH is a map of a route from Dormans through Château-Thierry to la Ferté S/Jouarre. At the upper left is the seal, I presume, of the Ville de Château-Thierry. The verso is simple and clean. A very colorful girl in a dirndle-like dress stands with the pot of milk on her head. Behind her is the village, I presume, of Château-Thierry . Under this picture is a map of a route from Dormans through...

Abstract These illustrations--lively, colorful, and contemporary--are taken from the Exposition "Quand la Fontaine rime avec le rock." "Les Deux Mulets" is postmarked in 1996, while the other two are postmarked two years later. The former card shows one mule driving a tractor in front of another mule dapperly clad as a chauffeur in a large vehicle. FS has a sporty stork sitting across from a primitive fox with sunglasses on his forehead. The fish-laden beakers are transparent. The monkey in "Le Singe...

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The eight include "Zeus and the Snake" (Venice, 1644), FC (Venice, 1644), FG (London, 1828), "The Woodcutter and Hermes" (Lille, 1809), SW (London, 1828), TH (London, 1828), DLS (Venice, 1819), and "The Stag and the Lion" (London, 1828). With illustrations ranging over almost 200 years and four editions, this little collection gives a nice suggestion of the illustrated fable books you might find in a good classics library.

Abstract Five beautiful colored cards, reproducing oil paintings on wood by André Quellier after the engravings of Jean-Baptiste Oudry, with two verses of La Fontaine under the painting. Featured are FC (22 00 1571), "Le Lion Amoureux" (1572), TB (1573), "L'Hirondelle et les Petits Oiseaux" (1574), and "Les Deux Pigeons" (1575)." Mr. Draeger was good enough to send me these when I inquired about the series "Les Ineffables de La Fontaine" printed by this company. Ask, and you have no idea what will...

Abstract The picture side of this postcard has a title across its top, a strong colored picture taking about two-thirds of the remaining space, and a text of the fable climaxing in "Moral: -- Use Gold Medal Flour." A handwritten addition below goes on "For sale by - Watson and Morehouse." The picture and text -- but not the layout -- are identical with one of the center pages of Comic Fables with Morals Advertising Washburn-Crosby's Gold Medal Flour. I will crosslist this find with postcards and keep...

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While the engraving is not as distinct as one would wish for Grandville's exquisite work, the coloring brings something new to his art. Both of these colored cards are done in portrait format. See also the landscape black-and-white inscribed postcard I have of Grandville's FS under individual postcards.

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The picture side reserves generally only 20% of its space for a message. The monochrome color differs from one card to another. The dealer gives the cards a date of 1898. Only the title and "d'apres Grandville" appears on the picture side. On the verso is nothing but room for an addressee and his or her address. The packaging is still present, if somewhat fragile. Curiously, the duplicates are done in different colors from each other.

Abstract See my remarks on each card. These cards show a great deal of wit and imagination! I was surprised when the seller started to write on the back of each, and I asked him why he was doing that. He explained that he is the artist and that he was signing them for me!The pig, as in the traditional fable, understands that he is travelling not to give up his wool or his milk but rather his life. Le Guilloux' addition here is the mocking hare getting a free bicycle ride and telling the...

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In LM, the rat takes sexual advantage of the netted lion, who thinks dark and gloomy thoughts. In OF, the ox inflates the frog. In TMCM, the country mouse discovers to his dismay—as he runs out the door--that the town mouse is gay. The French can do this kind of thing and get away with it!

Abstract Who finds hand-painted postcards? Les deux héros, Kalílah et Dimnah," Arabe 3465, fol. 48Kalílah et Dimnah s'entretenant," Arabe 3647, fol. 21. One of my favorites in this set.Dimnah et le boeuf Shanzabeh conversant," Arabe 3465, fol. 62Le Lion tuant le boeuf Shanzabeh," Arabe 3647, fol.40. One of my favorites in this set.L'oiseleur vient prendre dans son filet les colombes captives," Arabe 3465. fol. 84Conseil des...

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The image for IV 5 gives a clear sense that the three are pulling in different directions (up, down, and sideways); thus at least the former two cancel each other out. The industrious bear is trying to make bowed carriage harnesses in one action; the point is that this sort of work needs patience. Other great images here include the envelope's strong composite image, "The Cat and the Cook" (III 8), and "A Train of Carts" (II 20).

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I have long been an admirer of Rayev's work. Here are twelve of them gathered in a wrap-around cover with details from two of the images: "Cock and Pearl" and "Geese."

Abstract At first, these images may seem rather dull. Give them time. Several are very good. Among my favorites is "Three Townies" (VIII 23), in which one clever man eats the soup while the other two argue how to apportion it. The victim bull about to be seized upon by all the animals in "The Plague of Beasts" (II 4) is also well suggested by the light lines against the heavier lines of the other beasts. The lion in "The Lion and the Wolf" (V 14) lets the wolf know that puppies can get away with...