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World of Fairies & Flowers
The Forest Fairies
Look carefully beneath the trees and you'll catch sight of the Toadstool Fairies with their pots of brightly coloured paint. Or, if you're really lucky, you'll see a Fairy Ring where the fairies meet to dance and sing.
Then again, you might discover where the Larch Tree Fairy mended her torn wing and read a letter to a noisy goblin.
Margaret Tarrant's illustrations capture the enchantment and magic of the secret world of the Forest Fairies.
Then again, you might discover where the Larch Tree Fairy mended her torn wing and read a letter to a noisy goblin.
Margaret Tarrant's illustrations capture the enchantment and magic of the secret world of the Forest Fairies.
48 pages, Hardcover
First published January 1, 1925
1 person is currently reading
26 people want to read
About the author
Marion St. John Webb
48 books3 followersMarion St. John Adcock Webb was an English writer of novels and poetry for children that presaged A. A. Milne, with her character "The Littlest One."
She was the daughter of the poet Arthur St. John Adcock and Marlon Louise Taylor, and sister of Almey St. John Adcock. She grew up at 42 Paddington Street and was admitted to St Marylebone School in Marylebone in January 1894, having just turned 5 years old.
Webb wrote poems for a series of fairy books illustrated by Margaret Tarrant, with whom she worked on around 20 books. The treatment of childhood by Tarrant and Webb is now regarded as sentimentalised, typical of its time. She had no children of her own.
She was the daughter of the poet Arthur St. John Adcock and Marlon Louise Taylor, and sister of Almey St. John Adcock. She grew up at 42 Paddington Street and was admitted to St Marylebone School in Marylebone in January 1894, having just turned 5 years old.
Webb wrote poems for a series of fairy books illustrated by Margaret Tarrant, with whom she worked on around 20 books. The treatment of childhood by Tarrant and Webb is now regarded as sentimentalised, typical of its time. She had no children of her own.
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Displaying 1 of 1 review
December 2, 2021
Margaret Tarrant's illustrations of the fairies are truly enchanting and they augment Marion St. John Webb's delightful verse wonderfully.
There are six verses in the book and each of them on a different theme with the commonality of Margaret Tarrant's illustrations ... and she specialised in fairy paintings. My favourite set of illustrations in the book are those associated with the verse 'Paint Pots' mainly because of the profusion of colour she injects into the paintings. It opens with four captivating fairies with their diaphanous wings around a toadstool that they are painting. But one of the fairies wants to paint something else; the others tell her she can't do so and she therefore sits around while the others enjoy colouring the forest.
The close of the 19th century and the dawn of the 20th century were magical times for fairy lovers and in this book, first published in 1922, both Marion St John Webb and Margaret Tarrant capture that (almost) belief in fairies and their delightful imaginary world.
There are six verses in the book and each of them on a different theme with the commonality of Margaret Tarrant's illustrations ... and she specialised in fairy paintings. My favourite set of illustrations in the book are those associated with the verse 'Paint Pots' mainly because of the profusion of colour she injects into the paintings. It opens with four captivating fairies with their diaphanous wings around a toadstool that they are painting. But one of the fairies wants to paint something else; the others tell her she can't do so and she therefore sits around while the others enjoy colouring the forest.
The close of the 19th century and the dawn of the 20th century were magical times for fairy lovers and in this book, first published in 1922, both Marion St John Webb and Margaret Tarrant capture that (almost) belief in fairies and their delightful imaginary world.
Displaying 1 of 1 review