Books with author Pamela Colman Smith

Annancy or Anansi, is a character in Jamaican Folk Tales of in Africa Origin. In the tradition of Briar Rabbit in South, or the Coyote character of Native American folk lore, Annancy is a spider with human and supernatural characteristics who has adventures (and miss-adventures) with a Animals, People, Supernatural Creatures, Kings and Queens! Pamela Colman Smith illuminates this book both with her insightful wit and charming illustrations. This book contains over sixty unique drawings from the same artist who illustrated the most popular Tarot deck of all time (The Rider-Waite Tarot Deck).Stories Include :•Annancy and Chim-Chim.•De Man An' De Six Poach Eggs.•Why Toad Walk 'Pon Four Leg.•Annancy An' Tiger Ridin' Horse.•Mr. Titman.•Why John Crow Hab Peel Head.•Candoo.•Mother Calbee.•How Annancy Win De Five Dubbloon.•Morass.•Annancy And Gingy Fly.•How Annancy Went To Fish Country.•Haylefayly An' Pretty Peallope.•Paarat, Tiger An' Annancy.•Bull-Garshananee.•Annancy An' De Nyam Hills.•Ticky-Picky Boom-Boom.•De Golden Water, De Singin' Tree An De Talkin' Bird.•How Annancy Fooled Death.•The Three Sisters.•Annancy And Dry Kull; Or, Why Hog Hab a Long Mouth.•Dog An' De Duckanoo.

The brilliantly colored tarot deck that has been popular for decades is now presented in a charming keepsake tin. For Radiant Rider-Waite, the artwork of Pamela Colman Smith has been updated and enhanced with a vibrant palette of colors, bringing new energy and radiance to the familiar scenes of 78 cards. Radiant Rider-Waite's brightness and subtle shading highlight the traditional symbolism that readers rely on for insightful readings. The card backs feature a star-filled deep, blue sky. Radiant Rider-Waite Tarot includes an instruction booklet with an Introduction by Stuart R. Kaplan. Cards in this pocket-sized deck measure 2" x 3.5".

This book has been considered by academicians and scholars of great significance and value to literature. This forms a part of the knowledge base for future generations. So that the book is never forgotten we have represented this book in a print format as the same form as it was originally first published. Hence any marks or annotations seen are left intentionally to preserve its true nature.

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

This work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it.This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface.We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work.This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

Lost for almost a century, "Susan and the Mermaid" is the rediscovered tale of a magic ring, an underwater kingdom, and a wise old woman who knew how to make her granddaughter’s dreams come true. It’s a tale that rivals "Alice in Wonderland" for imagination ... and it was written and illustrated by Pamela Colman Smith, whose own life story reads like a work of fiction. Smith was an author, artist, and storyteller who divided her time between London, New York, and the island of Jamaica. During the early 1900s, she traveled with some of the world’s most famous writers and performers, including poet and playwright William Butler Yeats, popular actress Ellen Terry (the Elizabeth Taylor of her day), and Bram Stoker, the author of "Dracula." Smith published three books by the time she was twenty, and her work won critical acclaim around the world. True fame and fortune eluded her, though, and she died virtually unknown in 1951. Twenty years after her death, however, an old card deck she created was republished, and millions of modern tarot enthusiasts were welcomed into Smith’s world of magic, mystery, and metaphysics."Susan and the Mermaid" offers a new and unexpected glimpse into that realm, where the border between reality and fantasy blurs, and ethereal creatures lead ordinary people into extraordinary adventures.This story first appeared in the Christmas 1912 edition of "The Delineator," a magazine for mothers and their children. This version reproduces the original text and images, just as they looked at the time. This book also takes the discovery a step further, by offering a close-up look at the dozens of full-color illustrations Smith painted to accompany the story."Susan and the Mermaid" is a treasure recovered from the vaults of history. It's a gift from the past, from an artist who lives on in the words and pictures she left behind.

The Lair of the White Worm (also known as The Garden of Evil) is a horror novel by Irish author Bram Stoker. It is partly based on the legend of the Lambton Worm. The book was published in 1911 by Rider and Son in the UK, the year before Stoker's death, with color illustrations by Pamela Colman Smith. In 1925, it was republished in a highly abridged and rewritten form. Over a hundred pages were removed, the rewritten book having only twenty-eight chapters instead of the original forty. The final eleven chapters were cut down to only five, leading some critics to complain that the ending was abrupt and inconsistent.

The Russian Ballet by Ellen TerryDame Ellen Terry, GBE was an English stage actress who became the leading Shakespearean actress in Britain. Born into a family of actors, Terry began acting as a child in Shakespeare plays and continued as a teen, in London and on tourTHE Russian ballet, at least that section of it which M. de Diaghiliev, patron and grand seigneur rather than agent, has taken all over Europe during the last few years, and more recently to America, is now more than a darling of its own nation, a naturally ballet-loving nation. It has become an international possession. In England the Russian dancers have perhaps been acclaimed with more whole-hearted fervor than elsewhere, because before their coming the land was barren. In France and Italy they had ballets of their own. They have a standard by which they can measure the visitors from St. Petersburg. But English audiences, like children presented with a new toy, first shyly wondered at the novelty of the agile strangers, and then fell into transports of enthusiasm.Uncritical enthusiasm toward art and artists is an amiable attitude of the English once they have been gained over. And this enthusiasm has a way of persisting. "The English public may be slow," said a musician who had taken a long time to win their suffrages, "but they are damnably faithful!" If the fashion in Russian ballet should age elsewhere I feel sure it will not in England, the last country to adopt it. So these notes by an enthusiast have a good chance of being seasonable for many years. Yes, I claim to be an enthusiast, although, perhaps, the fact that I am not an English enthusiast but one who is half Irish and half Scotch makes me more canny than some of my fellow-admirers. I have never opened my mouth and swallowed the new ballet and all its works without thinking. These are, all the same, impressions rather than criticisms. And the impressions are not intended as an explanation of Miss Pamela Colman Smith's pictures any more than her pictures are intended to be an explanation of my impressions. Her pictures surely speak for themselves. And like the clerk, I need only cry "Amen" to her eloquent drawings.