Cover image for The legend of Sleepy Hollow
The legend of Sleepy Hollow
Moses, Will.
Personal Author:
Publication Information:
New York : Philomel Books, [1995]

Physical Description:
1 volume (unpaged) : color illustrations ; 30 cm
A superstitious schoolmaster, in love with a wealthy farmer's daughter, has a terrifying encounter with a headless horseman.
Format :


Call Number
Material Type
Home Location
Item Holds
PZ7.M8477 LE 1995 Juvenile Non-Fiction Open Shelf

On Order



Washington Irving's classic tale of romantic schoolmaster Ichabod Crane and his terrifying encounter with the Headless Horseman is given new life in this edition, featuring the richly detailed, one-of-a-kind folk illustrations of Will Moses.

Author Notes

Washington Irving, one of the first Americans to achieve international recognition as an author, was born in New York City in 1783. His A History of New York, published in 1809 under the name of Diedrich Knickerbocker, was a satirical history of New York that spanned the years from 1609 to 1664. Under another pseudonym, Geoffrey Crayon, he wrote The Sketch-book, which included essays about English folk customs, essays about the American Indian, and the two American stories for which he is most renowned--"The Legend of Sleepy Hollow" and "Rip Van Winkle."

Irving served as a member of the U.S. legation in Spain from 1826 to 1829 and as minister to Spain from 1842 to 1846. Following his return to the U.S. in 1846, he began work on a five-volume biography of Washington that was published from 1855-1859.

Washington Irving died in 1859 in New York.

Reviews 3

Booklist Review

Gr. 3^-5. Many folk-art paintings illustrate this simplified retelling of Washington Irving's Legend of Sleepy Hollow. Varied in size from small vignettes to double-page spreads, the colorful paintings are reminiscent of the works of Moses' great-grandmother, better known as Grandma Moses. A large-format picture book that will fill a need in some libraries. --Carolyn Phelan

Publisher's Weekly Review

Paintings by Grandma Moses's great-grandson make a striking match for Irving's classic story of strange goings-on in a small town in the Hudson Valley. Though greatly condensed, the plot remains intact; Ichabod Crane, the gangly schoolteacher, is driven out of Sleepy Hollow by a pumpkin-headed horseman who may (or may not) have been his flesh-and-blood rival to the affections of Katrina, a well-off young beauty. The paintings-naïve, bright and straightforward in the tradition associated with Moses's illustrious forebear-suit the story stylistically although they do not fully enter into its spirit; they do not vary to plumb the moods of the story, which range from low country comedy to romance to suspense and terror. But the illustrations are well placed, either as two-page set pieces of the churchyard or Katrina's family farm (these are strikingly similar in composition to the work of Grandma Moses), or as small vignettes amidst the text. Overall, an attractive illustrated storybook, which may excite interest in the original. Ages 6-up. (Aug.) (c) Copyright PWxyz, LLC. All rights reserved

School Library Journal Review

Gr 3-6‘Unlike the more concise adaptations by Robert Van Nutt (Rabbit Ears, 1991) and Robert San Souci (Doubleday, 1986), this version of the classic tale, retold by Grandma Moses's great-grandson, remains true to the original in its lengthy and flowery narration. An unnamed storyteller enthusiastically relays the legend of the Headless Horseman and his effect on the schoolmaster, Ichabod Crane, in ``...a mysterious, dreamy little settlement called Sleepy Hollow.'' While there are occasional awkward passages, the text is lively and compelling, with a 19th-century flavor. The primitive paintings enhance the Hudson Valley setting; unfortunately, their quality is uneven. Moses is most successful with the double-page landscapes and village scenes (similar to his great-grandmother's style), which will intrigue readers with their detailed activity. A few of the smaller vignettes capture humorous situations and the personalities of individual characters, but many, especially the night scenes, are indistinct and muddy. Moses includes black characters in the illustrations, though he has removed Irving's stereotyped descriptive passages. The lively text begs to be read aloud, but the detailed paintings lend themselves to one-on-one viewing. Try San Souci's or Van Nutt's version if you are sharing the illustrations with a group.‘Kristin Lott, East Brunswick Public Library, NJ (c) Copyright 2010. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.