Fairy will publish his first English book over at Dennis Frey - English and I, the fairy herself, have already started We are ever so grateful for all of you who made this dream of mine possible, who supported us through the tough times and enjoyed the beautiful times with us too. The lessons we learned were invaluable. Fairy is preparing for his last Mahon Point Farmers Market at the moment, so if you want to get Chocolate Fairy Cake Pops before we finish up you have to come on Thursday!
Or plan a visit for the very last Douglas market on Saturday! Stage 3 - all wrapped up. These are the white ones.
I'm chuffed that they turned out so wonderful. They are being delivered right now and will hopefully make the day tomorrow even sweeter for the newlyweds!
The countdown started Fairy will be there for two more weeks, our last trading day is the 10th of September on the Douglas Farmers Market. Make sure you stock some of your favourites, because it's time for the fairy family to move on into a new chapter. Stage 2. I think actually these are the prettiest cake pops we ever made! Stage 1 for our last wedding order. Aren't they beautiful? They will be name tags, so that everyone knows where to sit.
Meet the fairy chickens! Wow, the last batch of fairy pebbles is almost gone again!!! Who gets the last pack today on the Douglas Farmers Market? Visit Mr Fairy there between 10 and 2!
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Mr Fairy has a small fresh batch of dark chocolate and raspberry cubes with him today on the Mahon Point Farmers Market PLUS a limited amount of special pink raspberry chocolate lollies! If you're quick enough you might be able to catch one! Happy Saturday! Today it will be Mr. Fairy waiting for you with a smile on his face at the Douglas Farmers Market as Mrs. Fairy has finished her job and dives into her new adventure. Many of you lovely customers asked last Saturday what is next for her, so if you are interested you can follow her over at Happy Place Living by Annika! And yes, on the 18th of July two years ago was our first day on the market down in Bantry.
Happy birthday to us!
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Fairy is down on the Mahon Point Farmers Market today from 10am till 3ish, so drop by and maybe our Cake Pops make you smile too on this cloudy day. Today it's my last day as Mrs. Fairy on the Douglas Farmers Market. Fairy will continue, as for me it's time to move on and concentrate fully on my next project. Thanks to all our customers and my colleagues for making the last two years a fantastic experience and giving me room to grow and change.
I'm so grateful for all the wonderful moments I had with you! Come and visit me today between 10am and 2pm. The first few interested people came forward - if you are considering a life making chocolate, but have some questions first, contact us. His four collections of illustrated fairy tales in particular show how his very personal style was a synthesis of various sources and influences that were also those of Aestheticism Pre-Raphaelitism, Japonism.
The ideals of social harmony that he advocates in his tales are reflected at the visual level, in the harmonious layout and illustrations of his books. He belonged to this generation of artists who, towards the close of the Victorian era, challenged the British artistic and literary scene only to give it renewed life. Housman, like many of his friends, was interested in two things above all else: literature and art, and more particularly the art of book-making, which includes illustration as well as binding or calligraphy.
He contributed, as an illustrator and a writer, to the golden age of illustration which took place in Britain in the s before dedicating himself wholly and exclusively to writing. Francis and Victoria Regina Less well-known are the four fairy tale collections that he wrote and illustrated, at the very beginning of his career, between and He started his career as an illustrator in , but before illustrating his own literary works, he illustrated the writings of others. His most praised work was a new edition of Goblin Market by Christina Rossetti which received very encouraging reviews notably in The Studio in Moreover, with A Farm in Fairyland , Housman returned to two of his childhood passions, writing and the world of make-believe described in legends and tales.
From the very first pages of the collection, the English artist and writer displays his taste for complex symbolism and detailed drawings but also foregrounds his artistic allegiances. The title-page shows how attracted he was to some of the different artistic trends which emerged during the Victorian era. It reminds one of the fact that the Aesthetic movement which swept across Great Britain in the second half of the nineteenth century has many facets, as R.
Johnson explains:. Aestheticism was not one simple phenomenon but a group of related phenomena, all reflecting a conviction that the enjoyment of beauty can by itself give value and meaning to life. Morris, who was desirous to give craftsmanship a new lease of life in a time of frantic industrialization, founded this private press in to revive the medieval tradition of richly illuminated manuscripts. The vegetal frame, almost overwrought as it is, can therefore be interpreted as a Victorian continuation of the medieval art of book illustration.
It can also be compared to the production of the Vale and notably to Nimphidia and the Muses Elizim by Drayton, , another private press founded by Ricketts and Shannon, who were, like Housman and Morris, enthusiastic bibliophiles and old illustrated book collectors. As a consequence, his fairy tales are not saturated with didacticism as Victorian fairy tales generally are.
The silver sandhills lay in loops and chains round the curve of the blue bay, and all along them flocks of gaily coloured kites hovered and fluttered and sprang.
And, as they went up into the clear air, the wind sighing in the strings was like the crying of a young child. The atmosphere and the imagery of the tales are moreover faithfully transcribed in the illustrations: the reader can detect in them the same motifs and the same use of refined and symbolic details as in the texts. These wings, which seem to be an integral part of the gate behind the character, are symbolic traditional attributes of the god called Mercury by the Romans and Hermes by the Greeks.
These ornaments on the gate are coupled with an evocation of the peacock feather motif that was fashionable at that time in Great Britain. It had been used by James Whistler in for the decoration of a dining-room in F. The androgynous appearance of the character is also of some importance. From the s onwards, a craze for Chinese and Japanese arts developed in Great Britain after a treaty had been signed which opened diplomatic and commercial relationships between Japan and the Western world.
A cult of Japanese wood-block prints and Chinese blue and white porcelain emerged which turned British people into zealous collectors and which inevitably influenced British artists. As they tried to imitate Chinese and Japanese arts, these artists transferred some of their principles like the use of lacquer or the asymmetry in format and motifs like the willow pattern or the contrasts of scale to their own works. Laurence Housman similarly showed his taste for oriental culture both in his texts and in his illustrations when he chose a Far-Eastern setting for his stories or when he played with perspective and composition in his pictures.
While his admirers in The Atheneum or The Studio extolled his inventiveness, his dedication to beauty 7 and the peculiar appeal of his illustrations, his detractors criticized him for the lack of clarity of some of his drawings, which they found too intricate, too dark and too obscure, or for the somewhat whimsical physical appearance of his characters. Just how sales of his books were affected by the illustrations is suggested by the fact they were especially unpopular with the conservative provincial booksellers.
Laurence learnt this from Kegan Paul, who had been told by his touring salesman that strong objections had been raised by booksellers to the Housman style of illustration. As the patron of roads and travellers, the messenger of gods and the guide to the Underworld, Mercury embodies the journey to Fairyland, sometimes cruel or disturbing, on which Housman wants to take his readers. He is the keeper of the entrance of the fairy farm that gives its name to the book and that can be seen in the background.
In The House of Joy , a year later, he is represented in a very similar way, standing in front of a sculpted gate, the main difference being that he does not look at the viewer but at a woman who could be one of the heroines of the book. The patron of travellers still guides the reader on the way to Fairyland, that is on the path in the background that probably leads to the field of clover mentioned in the title, but he seems to be more modest and more human than in the previous pictures.
Here, the illustrator moves away from the purely Aesthetic cult of the art object to go back to the essence of the mythological character. The same choice of visual simplicity is to be found again in , in the title-page of The Blue Moon , in which the drawing is even more simplified and stylized. Nevertheless, this coherent group of works can be divided into two subgroups.
The illustrations in The Field of Clover and The Blue Moon , with their more elaborate frames and their darker drawings, can be distinguished from those in A Farm in Fairyland and The House of Joy , which have more in common.
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The continuity between the two is also intensified by the presence of the sculpted gate which simultaneously creates a link between the texts and the illustrations inside the two books. Each arabesque or curl on the doors of the gate indeed refers to a specific tale in the book, either by showing a character or an object of the story, or by reproducing the full-page illustration accompanying the tale. With this visual gimmick, Housman emphasized the introductive function of the title-page: very conventionally, by means of verbal signs, the reader is given the title of the book but the gate, by means of visual signs, also gives him information about what he is about to discover in the following pages.
He gradually moved from having the status of a craftsman ornating a text with pictures to being considered an artist enriching a text with new perspectives or interpretations.