Creighton University

Here is Paul Veres' excellent facsimile of Lorioux' original work from 1921.  The colors are crisp.  After all, it is the colors that attracted Paul in the first place.  The cover and first two pictures cleverly allow the cicada's guitar to extend beyond the frame that Lorioux is careful to provide.  Perhaps the most engaging image represents the moment of the ant's question "What were you doing all summer?"  The French tradition typically made the ant into a stolid bourgeois mother standing at her house door with her children.  Lorioux presents the ant rather as a cook in an apron busying herself with (confi?)ture boiling in a pot.  Well done! The title-page comes from Lorioux' entire volume.  The back cover reproduces Lorioux' delightful front cover showing La Fontaine sitting between two young children and, with quill in hand, reading his own fables to them.  Two mice run away.  The inside back-cover includes a picture of Lorioux and cites his edition of 1929.  Eight pages.

Here is Paul Veres' excellent facsimile of Lorioux' original work from 1921.  The colors are crisp.  After all, it is the colors that attracted Paul in the first place.  The cover and the last image strike me as the best here, for they are full of emotion: the pride of  the fox marching away with his cheese and the chagrin of the weeping cros.  The title-page comes from Lorioux' entire volume.  The back cover reproduces Lorioux' delightful front cover showing La Fontaine sitting between two young children and, with quill in hand, reading his own fables to them.  Two mice run away.  The inside back-cover includes a picture of Lorioux and cites his edition of 1929.  Eight pages.

Here is Paul Veres' excellent facsimile of Lorioux' original work from 1921.  The colors are crisp.  After all, it is the colors that attracted Paul in the first place.  The heron's sense of dignity is wonderfully presented here.  Also well done are the various other fish and animals, some unmentioned by La Fontaine, like the butterflies which play around the inactive heron as he waits for the proper time.  The title-page comes from Lorioux' entire volume.  The back cover reproduces Lorioux' delightful front cover showing La Fontaine sitting between two young children and, with quill in hand, reading his own fables to them.  Two mice run away.  The inside back-cover includes a picture of Lorioux and cites his edition of 1929.  I notice now what seems true of all six copies: Hachette on the inside back-cover is called not a Librairie but a Librarie.  Eight pages.

Here is Paul Veres' excellent facsimile of Lorioux' original work from 1921.  The colors are crisp.  After all, it is the colors that attracted Paul in the first place.  The cover illustration not only portrays the whole story in one glance.  It hints at the story's visual foci: the wolf's sword and his eyes.  The cover is also an excellent example of Lorioux' delightful colors.  The visual storytelling here sets up nicely for the violent ending.  In the preceding panel we see a bloody wolf impaled on a stake near the shepherd's fire and his dog.  The title-page comes from Lorioux' entire volume.  The back cover reproduces Lorioux' delightful front cover showing La Fontaine sitting between two young children and, with quill in hand, reading his own fables to them.  Two mice run away.  The inside back-cover includes a picture of Lorioux and cites his edition of 1929.  I notice now what seems true of all six copies: Hachette on the inside back-cover is called not a Librairie but a Librarie.  Eight pages.

Here is Paul Veres' excellent facsimile of Lorioux' original work from 1921.  The colors are crisp.  After all, it is the colors that attracted Paul in the first place.  The cover may be one of Lorioux' most popular illustrations: the two rats march gingerly from left to right in contrasting clothing.  Almost every illustration has some element -- a tail, a hat, a banana, a leaf -- that just escapes the ever-present picture frame.  My favorite illustration fits the line "I will let you imagine the life of these two friends" at the city meal.  The city rat flies through the air clinging to a half-peeled banana while his country cousin does a cartwheel on a banana peel.  The following several pictures portray good moods: pleasant torpor, then panic, and then flight.  Enjoy the contrasting shoes of the two rats and the cigar of the city rat.  The title-page comes from Lorioux' entire volume.  The back cover reproduces Lorioux' delightful front cover showing La Fontaine sitting between two young children and, with quill in hand, reading his own fables to them.  Two mice run away.  The inside back-cover includes a picture of Lorioux and cites his edition of 1929.  I notice now what seems true of all six copies: Hachette on the inside back-cover is called not a Librairie but a Librarie.  Eight pages.

Here is Paul Veres' excellent facsimile of Lorioux' original work from 1921.  The colors are crisp.  After all, it is the colors that attracted Paul in the first place.  A viewer looking at the cover of this pamphlet has to be drawn to the long vertical line of the stork's bill at the moment of frustration at the fox's dinner.  The fox's bright red curvaceous tongue makes a lovely contrast.  That long line returns in the two payback pictures, third-to-last and second-to-last in Lorioux' series.  The artist also pays close attention to the dress of the two characters, including the fox's top hat, glasses, and spats.  Little animals frolic in the outdoor scenes, while a dead chicken hangs in the fox's lair with a note "to keep."  The title-page comes from Lorioux' entire volume.  The back cover reproduces Lorioux' delightful front cover showing La Fontaine sitting between two young children and, with quill in hand, reading his own fables to them.  Two mice run away.  The inside back-cover includes a picture of Lorioux and cites his edition of 1929.  I notice now what seems true of all six copies: Hachette on the inside back-cover is called not a Librairie but a Librarie.  Eight pages.