Books published by publisher USAbesellerdotcom

THE TALE OF TIMMY TIPTOESTells the story of Timmy Tiptoes, who ends up deep inside the trunk of a dead tree, with no means of getting out. Luckily, the chipmunk who lives there was friendly and kind to him. Before long, a strong wind blows the top off the dead tree trunk, but poor Timmy can't get himself out on account of eating many nuts and being a little bit too round.By 1911, when Beatrix Potter was preparing The Tale of Timmy Tiptoes for publication, her books were already well known in America. The new story aimed to appeal directly to her many American fans and featured animals of American origin, grey squirrels, chipmunks and a black bear, all living happily in the Lake District woods.

The Tale of Ginger and Pickles (originally, Ginger and Pickles) is a children's book written and illustrated by Beatrix Potter, and first published by Frederick Warne & Co. in 1909. The book tells of two shopkeepers who extend unlimited credit to their customers and, as a result, are forced to go out of business. It was originally published in a large format which permitted Potter the opportunity to lavish great detail on the illustrations and also allowed her to include black-and-white vignettes. Potter filled the tale with characters from her previous books. The book was eventually republished in the standard small format of the Peter Rabbit series and was adapted to drama in 1931.

THE TALE OF MR. JEREMY FISHERThe Tale of Mr. Jeremy Fisher, like Peter Rabbit, began life as an illustrated letter to a young child. It was written when Beatrix Potter was on holiday in Scotland where her father and his friends enjoyed fishing expeditions. Mr. Jeremy has a day full of the worst fisherman's mishaps when he sets out to catch minnows for his dinner.The Tale of Mr. Jeremy Fisher, like Peter Rabbit, began life as an illustrated letter to a young child. It was written when Beatrix Potter was on holiday in Scotland where her father and his friends enjoyed fishing expeditions. Mr. Jeremy has a day full of the worst fisherman's mishaps when he sets out to catch minnows for his dinner.

THE TALE OF Mrs. TITTLEMOUSETells the tale of Mrs Tittlemouse, a tidy little wood mouse. She is always sweeping her burrow, polishing and tidying. It is an endless job and it seems that no sooner has she made a good start than another messy visitor appears and leaves their muddy footprints everywhere.In this tale, Beatrix Potter drew the uninvited insect guests, from spiders to bees, found in Mrs Tittlemouse's underground home, from the microscopic studies of insects she made in the Natural History Museum in her youth.

Man's inclination to decorate his belongings has always been one of the earliest signs of civilisation. Art had its beginning in the lines indented in clay, perhaps, or hollowed in the wood of family utensils; after that came crude colouring and drawing.Among the first serious efforts to draw were the Egyptian square and pointed things, animals and men. The most that artists of that day succeeded in doing was to preserve the fashions of the time. Their drawings tell us that men wore their beards in bags. They show us, also, many peculiar head-dresses and strange agricultural implements. Artists of that day put down what they saw, and they saw with an untrained eye and made the record with an untrained hand; but they did not put in false details for the sake of glorifying the subject. One can distinguish a man from a mountain in their work, but the arms and legs embroidered upon Mathilde's tapestry, or the figures representing family history on an Oriental rug, are quite as correct in drawing and as little of a puzzle. As men became more intelligent, hence spiritualised, they began to express themselves in ideal ways; to glorify the commonplace; and thus they passed from Egyptian geometry to gracious lines and beautiful colouring.Indian pottery was the first development of art in America and it led to the working of metals, followed by drawing and portraiture. Among the Americans, as soon as that term ceased to mean Indians, art took a most distracting turn. Europe was old in pictures, great and beautiful, when America was worshipping at the shrine of the chromo; but the chromo served a good turn, bad as it was. It was a link between the black and white of the admirable wood-cut and the true colour picture.Some of the Colonists brought over here the portraits of their ancestors, but those paintings could not be considered "American" art, nor were those early settlers Americans; but the generation that followed gave to the world Benjamin West. He left his Mother Country for England, where he found a knighthood and honours of every kind awaiting him.The earliest artists of America had to go away to do their work, because there was no place here for any men but those engaged in clearing land, planting corn, and fighting Indians. Sir Benjamin West was President of the Royal Academy while America was still revelling in chromos. The artists who remained chose such objects as Davy Crockett in the trackless forest, or made pictures of the Continental Congress.CONTENTSINTRODUCTIONI. Andrea del Sarto, Florentine School, 1486-1531II. Michael Angelo (Buonarroti), Florentine School, 1475-1564III. Arnold Böcklin, Modern German School, 1827-1901IV. Marie-Rosa Bonheur, French School, 1822-1899V. Alessandro Botticelli, Florentine School, 1447-1510VI. William Adolphe Bouguereau, French (Genre) School 1825-1905VII. Sir Edward Burne-Jones, English (Pre-Raphaelite) School, 1833-1898VIII. John Constable, English School, 1776-1837IX. John Singleton Copley, English School, 1737-1815X. Jean Baptiste Camille Corot, Fontainebleau-Barbizon School, 1796-1875XI. Correggio (Antonio Allegri), School of Parma, 1494(?)--1534XII. Paul Gustave Doré, French School, 1833-1883XIII. Albrecht Dürer, Nuremberg School, 1471-1528XIV. Mariano Fortuny, Spanish School, 1838-1874XV. Thomas Gainsborough, English School, 1727-1788XVI. Jean Léon Gérôme, French Semi-classical School, 1824-1904XVII. Ghirlandajo, Florentine School, 1449-1494XVIII. Giotto (di Bordone), Florentine School, 1276-1337XIX. Franz Hals, Dutch School, 1580-84-1666XX. Meyndert Hobbema, Dutch School, 1637-1709XXI. William Hogarth, School of Hogarth (English), 1697-1764XXII. Hans Holbein, the Younger, German School, 1497-1543XXIII. William Holman Hunt, English (Pre-Raphaelite) School, 1827-XXIV. George Inness, American, 1825-1897XXV. Sir Edwin Henry Landseer, English School, 1802-1873

THE TALE OF MR. TOD One of Potter's most sophisticated stories features two villains--Mr. Tod (a fox) and Tommy Brock (a badger)--pitted against each other. Also featured are none other than Peter Rabbit and Benjamin Bunny! Benjamin's babies have been stolen by Tommy Brock. How will the bunnies get them back? Fortunately, the two villains don't much like each other!

PREFACEFor this rhymed version of the Fables I have to thank my early friend and master W.J. LINTON, who kindly placed the MS. at my disposal. I have added a touch here and there, but the credit of this part of the book still belongs to him.Walter Crane CONTENTS Page 9. The Fox and the Grapes. 10. The Cock and the Pearl.—The Wolf and the Lamb. 11. The Wind and the Sun. 12. King Log and King Stork. 13. The Frightened Lion. 14. The Mouse and the Lion.—The Married Mouse. 15. Hercules and the Waggoner. 16. The Lazy Housemaids. 17. The Snake and the File.—The Fox and the Crow. 18. The Dog in the Manger.—The Frog and the Bull. 19. The Fox and the Crane. 20. Horse and Man.—The Ass and the Enemy. 21. The Fox and the Mosquitoes.—The Fox and the Lion. 22. The Miser and his Gold.—The Golden Eggs. 23. The Man that pleased None. 24. The Oak and the Reeds.—The Fir and the Bramble. 25. The Trees and the Woodman. 26. The Hart and the Vine. 27. The Man and the Snake. 28. The Fox and the Mask. 29. The Ass in the Lion’s Skin. 30. The Lion and the Statue. 31. The Boaster. 32. The Vain Jackdaw. 33. The Peacock’s Complaint. 34. The Two Jars.—The Two Crabs. 35. Brother and Sister. 36. The Fox without a Tail. 37. The Dog and the Shadow. 38. The Crow and the Pitcher.—The Eagle and the Crow. 39. The Blind Doe. 40. The Geese and the Cranes. 41. The Trumpeter taken Prisoner. 42. Hot and Cold. 43. Neither Beast nor Bird. 44. The Stag in the Ox-stall.—The Deer and the Lion. 45. The Lion in Love. 46. The Cat and Venus.—Mice in Council. 47. The Hen and the Fox.—The Cat and the Fox. 48. The Hare and the Tortoise.—The Hares and the Frogs. 49. Porcupine, Snake & Company.—The Bear and the Bees. 50. The Bundle of Sticks. 51. The Farmer’s Treasure. 52. The Cock, the Ass, and the Lion.—The Ass and the Lap Dog. 53. Fortune and the Boy. 54. The Ungrateful Wolf.—The Fisherman and the Fish. 55. The Herdsman’s Votes.—The Horse and the Ass. 56. The Ass and the Sick Lion.Children's Picture Book by age 3-8

THE TALE OF SAMUEL WHISKERSThe first farm that Beatrix Potter owned, Hill Top, was an old house with many hiding places for the rats and mice against which she waged a constant battle. In The Tale of Samuel Whiskers this farmhouse is Tom Kitten's home and the story tells what happens when Tom accidentally comes upon the rat Samuel Whiskers living in a secret hideout behind the attic walls.ells what happens when Tom, a kitten, accidentally comes upon the rat Samuel Whiskers living in a secret hideout behind the attic walls.

The Tale of Jemima Puddle-DuckThe Tale of Jemima Puddle-Duck is a children's book written and illustrated by Beatrix Potter. It was first published in July 1908. Potter composed the book at Hill Top, a working farm in the Lake District she bought in 1905. Jemima Puddle-Duck was the first of her books set wholly at the farm with background illustrations based on the farm buildings and yard, and nearby locales.

The circumstances in which this book came to be written are as follows. Some five weeks after the survivors from the Titanic landed in New York, I was the guest at luncheon of Hon. Samuel J. Elder and Hon. Charles T. Gallagher, both well-known lawyers in Boston. After luncheon I was asked to relate to those present the experiences of the survivors in leaving the Titanic and reaching the Carpathia.When I had done so, Mr. Robert Lincoln O'Brien, the editor of the Boston Herald, urged me as a matter of public interest to write a correct history of the Titanic disaster, his reason being that he knew several publications were in preparation by people who had not been present at the disaster, but from newspaper accounts were piecing together a description of it. He said that these publications would probably be erroneous, full of highly coloured details, and generally calculated to disturb public thought on the matter. He was supported in his request by all present, and under this general pressure I accompanied him to Messrs. Houghton Mifflin Company, where we discussed the question of publication.Messrs. Houghton Mifflin Company took at that time exactly the same view that I did, that it was probably not advisable to put on record the incidents connected with the Titanic's sinking: it seemed better to forget details as rapidly as possible.However, we decided to take a few days to think about it. At our next meeting we found ourselves in agreement again,—but this time on the common ground that it would probably be a wise thing to write a history of the Titanic disaster as correctly as possible. I was supported in this decision by the fact that a short account, which I wrote at intervals on board the Carpathia, in the hope that it would calm public opinion by stating the truth of what happened as nearly as I could recollect it, appeared in all the American, English, and Colonial papers and had exactly the effect it was intended to have. This encourages me to hope that the effect of this work will be the same.Another matter aided me in coming to a decision,—the duty that we, as survivors of the disaster, owe to those who went down with the ship, to see that the reforms so urgently needed are not allowed to be forgotten.Whoever reads the account of the cries that came to us afloat on the sea from those sinking in the ice-cold water must remember that they were addressed to him just as much as to those who heard them, and that the duty, of seeing that reforms are carried out devolves on every one who knows that such cries were heard in utter helplessness the night the Titanic sank.