Our Christmas Gift Guide 2018 December 04 2018
Our Top Books for Spring April 26 2018
Spring has sprung on Drury Street! Well…sort of. While the weather can’t decide whether to soak us with rain or burn us with sunshine, we’ve decided to take the “fake it ‘til you make it” approach to spring. We’re simply going to pretend that it’s a good time of year to get out into the garden and plant some seeds! Here are our top books for the season, full of lovely plants, nature activities, lambs, and all the best things about this time of year.
Pelle’s New Suit
Pelle's New Suit is one of our favourites from our beloved Elsa Beskow. Pelle has a little lamb who he's responsible for looking after. When spring arrives and the time comes to shear the lamb, Pelle decides to make a suit out of the wool. His grandmother agrees to card the wool in exchange for Pelle weeding the carrot patch, and his mother weaves the yarn for him as long as he looks after his little sister. This is a lovely book to teach children about give and take, and its illustrations are full of gentle spring colours.
Botanicum is a beautiful collection of botanical illustrations, perfect for gardening enthusiasts. Katie Scott’s intricate illustrations will make you feel like you’re in a Victorian conservatory every time you turn the page! This book also has lots of information on plants, so it’s perfect for readers of any age who are interested in botany and horticulture.
Little Tree is a great book for younger children who are just learning to read their first words. It shows us what happens to a tree through the four seasons, including changes in weather and animal activity. It’s got lots of fun flaps to lift up and peek under, with nature words to learn as you read.
Findus, Food and Fun
Sven Nordqvist’s Findus and Pettson series, about a grumpy farmer and his mischievous cat friend, is one of our all-time favourites. In this activity book, Findus, Food and Fun, Findus and Pettson show us lots of interesting things to make and do at all times of the year. This is a great one to get kids outdoors and active, but it’s also got lots of good indoor craft projects for those inevitable rainy spring days.
The Secret Garden
Who doesn’t love The Secret Garden? This edition of Frances Hodgson Burnett’s classic is beautifully illustrated by Inga Moore. Her illustrations really capture the sense of fresh air and colour in the children’s adventurous hideaway.
The Root Children
The Root Children is a nostalgic, classic book by Sibylle von Olfers; a turn of the century author and illustrator whose style is similar to Elsa Beskow. Under the ground, deep in the earth, the little root children sleep tight all winter. When spring comes Mother Earth comes along to wake them up, and they set to work bringing all the plants and flowers up to the surface for springtime!
Our Christmas Gift Guide! December 07 2017
The most wonderful time of the year is here! And this year has been extra special for us already, with a fantastic shout out from Ryan Tubridy on the Late Late Toy Show!! He was talking about our fabulous Roald Dahl cushions, which have since flown out the door! Some of our most sought after cushions are now sold out, but they will all be back in next week; if you would like to reserve one, or be notified when they are back in stock, please call us on 01 679 2155 or email email@example.com.
As well as our fabulous cushions, we've got so many more amazing gift ideas: we've got some beautiful new stock, including new books, kitchenware and accessories. Below are some special gift ideas to add to the festive cheer!
Gifts for babies
Christmas is a special time for even the youngest in the family. Sharing classic stories is a lovely way to start building baby's library, while keepsakes help preserve the memory. View our full range of lovely gifts for babies here.
Homewares & Kitchenware
We have a large range of gorgeous homewares in stock too this Christmas. Brighten up someone's morning routine with our Miffy, Moomin or Peter Rabbit kitchenware! Or avail of 20% off our Elsa Beskow kitchenware from Design House Stockholm.
We have a large range of beautifully illustrated prints for all ages. Go for nostalgia with an image from your favourite children's book, or classical with something from the Golden Age of illustration. Or choose a modern take with our special designs from local artists. We can also frame any print in-store while you wait! Browse our full range of prints here. (You may have also spotted some of our Roald Dahl prints dotted around the Toy Show set!)
Decorations & Baubles
Christmas decorations can be charming tokens to help remember each festive gathering. We have loads to choose from this year, including designs from Hans Christian Andersen, Beatrix Potter, Elsa Beskow and Alice in Wonderland. (Most are available in-store only).
Stories are the greatest gift of all! We have lots of beautiful children's books that will introduce little ones to the joy of reading, as well as gorgeous gift books adults will love.
We really enjoy recommending books, so if you're looking for ideas feel free to pop in for a chat, or call or message us! Browse our large book collection online here, or pop in store for even more choice.
Bring sound to classic stories: this year we're stocking lovely Flower Fairies and Elmer music boxes.
The Prettiest Girl and the Wolf that Laughed Last July 23 2015
Arguably the best-known of all fairytales, the story of Red Riding Hood does not always end the way we thought it did. In fact in one very old written version of the story, things go very badly indeed for our young heroine, and Harry Clarke’s illustration perfectly captures the moment things start to go downhill.
Though mainly known for his intricate stained-glass panels, Clarke also produced a trove of beautifully crafted classic fairy tale illustrations (several of which we included in a previous blog post). Owing to the fact that many of these pieces seem to focus on the stories’ darker aspects, few of them – if any – are meant for younger viewers. One excellent example is his unsettling depiction of the first encounter in the forest between Red Riding Hood and the wolf.
At first glance, the image seems elegant and non-threatening – an unconcerned-looking Red Riding Hood, holding her brolly and basket of goods, stops to take notice of a wolf that’s appeared from among the trees. Neither is shown to have an inclination towards a fight or flight response. It all seems rather calm and civilised. However, Clarke’s illustration was based on Charles Perrault’s version of the story, which first appeared back in 1697, long before the more widely known Brothers Grimm version, which appeared in 1812. The main difference between the two could not be starker. In the Grimms’ edition, a huntsman rescues Red Riding Hood and her grandmother before the wolf has had a chance to digest them after consuming them; in Perrault’s version, the wicked wolf hungrily gobbles down Red Riding Hood and her granny, and there the story ends. There’s no saviour, no comeuppance for the wolf, and no happy ending.
Yet this is what part of what makes Clarke’s illustration for Perrault’s intense little tale so unique: it doesn’t just give us a familiar old scene; instead it captures the exact moment when Red Riding Hood’s fate is sealed as the wolf first lays eyes on her. Given this fact, rather than slipping into our roles as interested but passive spectators, we are instead made witnesses as the young girl is delivered directly to a wild and ravenous predator while still blithely unaware of the creature’s terrible intentions for her.
But Clarke’s image does more than just make witnesses of us. It also invites us to interact with what we see and to view the story in a frightening new light. So that’s just what we’ll do.
When Beauty Meets the Beast
From the very first line of Perrault’s tale, we’re told that Red Riding Hood is uniquely beautiful. She is described as ‘the prettiest girl you can imagine’. Clarke takes this as a starting point for his own work, presenting us with the vision of a sophisticated, pixie-like young heroine.
He focuses on the details of her clothing, adding delicate floral patterns to her dress, fur to the front of her heeled shoes, and tassels to the hem of her brilliant red hood. Her delicacy is reiterated through her pale skin, minute facial features and disproportionately tiny hands. She is all symmetry, fine lines, elegance and poise – the perfectly presented nineteenth-century society belle.
The wolf, on the other hand, is portrayed as being the very opposite of grace and orderliness. His fur is presented in a rush of untidy, ragged lines; his colour is mottled rather than pure; and his mouth hangs menacingly open, exposing to us his teeth and tongue. It seems to be a deliberate attempt by Clarke to accentuate the divide between ordered human society and the disordered natural world.
Lost and alone in the forest
This divide is represented figuratively by the winding footpath – an odd, out-of-place human construction in the deep woods – along which Red Riding Hood has wandered. In doing so, she has left behind the safety of her everyday world, with its morals and social conventions, and now finds herself trapped, helpless and alone.
Imprisoned by the surrounding trees, her only hope of rescue seems to lie with the woodsmen who are shown working far off in the background, but they are distant figures on a separate path. The suggestion here seems to be that Red Riding Hood has chosen her own way, and must deal with its consequences alone.
The symbol of the Red Hood
Part of the beauty of Clarke’s illustration is that it offers only clues for interpretation; nothing is entirely certain. Yet the iconic red hood is so noticeable that it appears vital in any search for meaning in the image.
Against a palette of muted, earthly colours, the hood’s vibrant red seems to acquire a symbolic value, but of what? Some have suggested that the story itself is a parable of sexual awakening and the potential dangers it poses for vulnerable young women. Clarke certainly seems to acknowledge this interpretation: notice, for instance, that his Red Riding Hood wears a bustle – a framework that women of the late 1800s wore beneath their dresses to affect a fuller, more alluring figure. In this context the red hood may be seen as a symbol of menstruation and sexual maturity. Under this light the wolf is then revealed as another kind of predator whose altered motivations are just as sinister.
But perhaps a more straightforward interpretation of the red hood is that it is a foreshadowing of Red Riding Hood’s bloody and fateful end. If she is indeed a symbol of the ordered human world, then the wolf may act as a warning against ignorance, or possibly even blind arrogance. After all, for all her outward sophistication, Red Riding Hood is still easily outwitted by the wild yet cunning animal before her. Could it be that no matter how much we think we know, nature will simply always remain a few steps ahead of us?
Whatever interpretation we apply to Clarke’s complex illustration, his major achievement is that though he presents us with an instantly recognisable scene, the more we examine his ethereal vision, the less familiar it seems to become.
Click on the link to view a selection of our classic fairy tale-inspired prints.
The Amazing Papercuttings of Hans Christian Andersen July 07 2015
Did you know that in his lifetime, Hans Christian Andersen was as well known for cutting out beautiful shapes in paper as he was for his fairy tales? Well, we didn't. Until an actual living relative of the great Hans Christian Andersen himself told us! (Sort of.)
It happened in February at the Spring Fair in Birmingham, an industry event held at a location (the Birmingham NEC) we’re told is roughly the size of 26 football pitches. We were there to find something special, and that we did.
Sourcing the best products for our lovely customers was exhilarating. Especially when something so unexpected and exciting happened, like spotting a little corner stand that sparkled – literally. Oddly enough, what caught our attention was an arrangement of candle holders – not the kind of thing we were looking for (or thought we were looking for!) – but then these weren’t just any old candle holders. They were specifically themed on the original designs from papercuttings of Hans Christian Andersen!
The Papercuttings of Hans Christian Andersen
Plated in gold and silver and cut in an array of unusual, dream-like shapes, the holders contain exact replicas of just a few of the thousands of papercuttings Andersen created in his lifetime. They depicted ballet dancers and soldiers, angels and elves and more. The Angels and Elves design was created in 1874 as a gift for Elisabeth Moller, the daughter of a local Dean. Her account of his generous gift to her reads:
'Hans Christian Andersen and I were guests at the same time on Holsteinsborg. One day when we had to go to the dinner table, he came and gave me a bouquet. "There should really have been a little flowers paper around" he said, then he took scissors and paper from his pocket and cut it while I looked at it.'
Though Andersen's papercuttings are less well known today than his fairy tales are, they reveal another dimension to his breathtaking creative abilities. Not only was he adept at activating our imaginations through the words he put on paper, but he could also use paper as a means of storytelling in itself.
Preserving Classic Designs
As we know, paper’s quality deteriorates over time. But where there’s a will there’s a way, and while the paper itself might age, the designs themselves wouldn’t. Which begged the question: why limit them to paper when they can be applied to more durable materials such as brass and porcelain instead? If anything, transferring the designs in this way simply means that the designs can be passed from generation to generation in much the same way that Andersen's much-loved fairy tales are.
Keeping up with the Andersens
While browsing the full range of enchanting items on display, an impeccably dressed man with a somewhat indistinct European accent offered to fill in more of the back story. His company had previously been the suppliers for the Danish goldsmith industry but had since turned their attention towards developing unique designs for jewellery, decorations and gifts. He introduced himself to us as Michael Nordahl Andersen. It took another few moments of idle chatting before some distant alarm finally went off in our brains – ‘His surname is Andersen...like, Hans Christian Andersen?’
Putting our keen detective skills to the fore, we asked Michael if he was indeed related to the source of inspiration for his amazing gift products. ‘No, unfortunately I am no relation of Hans Christian...that I know of, at least’, he said.
‘But we are from the same hometown of Odense, in Denmark.’ Hmmm. The same surname? The same hometown? The same papercut designs? Our detective instincts told us that this wasn’t some mirage, or a simple coincidence. With a knowing smile and nod, we agreed it was a pity that Michael and Hans Christian were probably not related. At least, not to Michael’s knowledge. But given the body of evidence, we felt we probably knew better. That’s our story anyway, and we’re sticking to it.