Gulliver's Travels, Boccaccio's The Decameron, and Cervantes's Don Quixote. While his illustrations for classic prose include some fine, if conventional illustrations, they did not provide him with the opportunity to give free range to his imagination. He had a greater affinity for children's literature, that shows in his illustration for La Fontaine Fables, and later the Fables of Lavalette and Florian, collectively ranking among his finest work. He made a series of drawings for Perrault’s Little Red Riding Hood but these were not published. Grandville adapted and refined his style in switching from cartoons to book illustrations, which coinciding with the evolving printing technology and a shift from lithography to wood engraving. Previously, illustrations were typically printed on separate pages that were inserted into the text. With end-cut wood engravings, fine detail could be achieved on the hard end grain of wooden blocks, that could then be placed with the typographical blocks and printed on the same page with the text, lowering cost, and increasing the speed and quality of illustrated texts. Book illustrations (after 1836) wood engravingsBy the early 1840s, Grandville was increasingly illustrating books that were centered around his images. Working in collaboration with publishers and contemporary Parisian writers, he was at times given free regain of his imagination and the images. He produced about one book a year, his name often appearing before the authors on the title page, in which his illustrations were equally as important as the text, if not the main focus of the book. Not surprisingly some of his finest work and that for which he is best remembered today appeared in this period. Most of the authors he worked with had some past connections or background with the radical press of the early 1830s. The first was Scènes de la vie privée et publique des animaux (Scenes of the Private and Public Life of Animals), a satirical compilation of articles and short stories, first published in serial form over a couple of years, then in a two volume set in 1842, with 320 wood engravings by Grandville. Multiple authors contributed to the books including Honoré de Balzac, Louis-François L'Héritier, Alfred de Musset, Paul de Musset, Charles Nodier, and Louis Viardot. This was followed by Petites misères de la vie humaine (Little Miseries of Human Life) in 1843, with text by Paul-Émile Daurand-Forgues, a contributor to Le Charivari who sometimes published under the