September 2012

You are currently browsing the monthly archive for September 2012.

As the exhibition opening draws closer, our exploration of the biographies of individual copies of books from the What to Look For series continues. Although the copy pictured below is not a first edition but a later version and is arguably far less ‘collectible’ by traditioanl standards, I think there is little chance that this particular volume will ever reach the secondhand book market. It will certainly not do so in the lifetime of its current owner, for whom it is of special importance.

Copy of 'Autumn' book lent by Kelly Borlase-Hendry and her husband Piran Borlase-Hendry

This later edition of the ‘Autumn’ book has been lent by Kelly Borlase-Hendry and her husband Piran Borlase-Hendry, who has had it since he was a child.

Indeed, the book has come to us via Kelly Borlase-Hendry who works as a Student Financial Support Team Leader within the University of Reading. It belongs to her husband Piran Borlase-Hendry who remembers the What to Look For series being his favourite books when he was younger, so much so that they were the only volumes that he kept from his childhood.

This narrative doesn’t differ enormously from the other familial stories I have already recounted. Someone owned the book as a child and liked it enough to hang onto it into adulthood. However, there is a further twist to this particular example. Piran wanted me to point out that not only that he is a graduate of Rural Resource Management here at the University of Reading (and therefore has his own institutional connection) but that he is now working as an Ecologist, a career trajectory that has much to do with his love of these books in his youth. Indeed, as his wife Kelly told me, Piran thinks that ‘his love of the countryside stems from these books.’

For me at least and for our purposes in this part of the exhibition and wider project, this a tremdously powerful idea. It is one thing for us to be asking quite simply how people respond to an image from the Autumn volume or what they think of the book and the text now but to know it had such a profound impact on someone’s life, and that these four small books were capable of influencing what degree and subsequent career somebody chose to pursue is a step on from exploring the possible meaning of marginalia and old sticky tape marks.

Do you have a similar story to tell about one of these four books, or perhaps regarding the infleunce of Ladybird books on subsequent life choices more generally? If the What to look For books could inspire someone to a career in ecology, a type of job that was markedly less common when they were first published then there must be people out there whose subsequent paths were determined by the more straightforwardly career-oriented volumes produced through Ladybird’s People at Work series.

I and J Havenand, 'The Farmer' (1963)

First published in 1963, ‘The Farmer’ by I and J Havenand gave a detailed account of farming at this time and what it entailed. It was one of Ladybird’s ‘People at Work’ series. A slightly later edition may be seen in the exhibition.

For example, the very first two of these being Vera Southgate’s The Fireman (1962) and The Policeman (1962). This is to say nothing of I and J Havenand’s The Farmer (1963), which is arguably more relevant here, as well as the nurses, builders, postmen, miners, and others whose lives might have been shaped by these formative and informative books.

Thanks to Piran and Kelly for sharing the story behind the copy they have kindly lent.

Tags: , , , , , , , , , , , , ,

We are now putting the exhibition in place in preparation for the opening on Saturday 6th October. The material on loan from museums and private collectors is arriving, and for the first time we can see how it will look within the exhibition space. Oriel Ynys Môn has been extremely supportive. We have received items that will help gain a sense of Charles Tunnicliffe’s working processes, including one of the easels used towards the end of his career, and a box of art materials. Oriel Ynys Môn has also sent a range of artworks to compliment those in our own collection. These include a large and very impressive measured drawing of a fox, and this early study, based on observations Tunnicliffe made on his family farm.

Christmas Chickens

We originally hoped to incorporate some animated content and film into the exhibition, which for various practical reasons was not possible. As such, I thought I’d expand on some of these ideas and provide links to some interesting material here instead.

The arrival of photography in the nineteenth century led to realistic depictions of animal movement. The most famous example of this transition came in the form of work by visual pioneer Eadweard Muybridge (1830-1904). He used the camera to take different series of single frame stills that represented sequences of animals and people in motion. These images revealed how things actually moved. The stills he took have been re-animated by modern scholars.

Eadweard Muybridge's animated horse galloping

Animated sequence of a race horse galloping. Photos taken by Eadweard Muybridge (died 1904), first published in 1887 at Philadelphia (Animal Locomotion).

Despite these significant advances, Charles Tunnicliffe clearly opted to study specimens directly and to sketch from life. These observations—especially of birds—shaped his own ability to portray the animal world. The huntsman illustration at the heart of the exhibition also captured motion in its own way, operating much like a single frame from an animated film.

Although unconnected in life, Tunnicliffe actually had much in common with Walt Disney (1901-1966). Born just days apart at the very beginning of 1901, they both worked as commercial illustrators, later producing popular art for children and adults alike. Whilst the former sought to entertain and the latter to educate, their work shared a degree of captivation with animal movement.

Just as Tunnicliffe explored hunting through ‘Tarka the Otter’ and his illustrative work for Ladybird, visual and animated representations of hunting also featured in several Disney productions, first appearing in the 1938 cartoon The Fox Hunt.

The most successful hunting sequence of Disney’s lifetime and career was probably the blend of live action and animation in Mary Poppins. Based on the children’s books by Pamela Lyndon Travers, this film hit the screens in 1964, the heyday of Ladybird.

Far from offering a neutral depiction of fox hunting, Disney’s satirical and humourous sequences portrayed it as something to be ridiculed and something for the British upper classes. Nevertheless, in their own way these sequences helped to add to the sense that it was somehow quintessentially English and inherently part of the landscape and rural life in question.

As well as delving into ideas of animation and how animal movement was captured by Tunnicliffe and his contemporaries, we briefly explored another bit of film, this time of a more biographical nature. Tunnicliffe himself seems to have been the subject of a 1981 BBC Wales television documentary called True to Nature. We have yet to track down a copy of this documentary. If anyone remembers it we’d love to hear from you.

Tags: , , , , , , , , , , , , , , , , , , , , , , , , , ,

Ladybird books were designed to be easily and cheaply printed. Indeed, one of the principal aims of the publisher was to make books that were both accessible and affordable. As a result, the books were made to a standard size and format, enabling them to be quickly and cheaply produced with little or no material wasted in the process. They were, in effect, a kind of twentieth century equivalent to that mainstay of nineteenth century popular publishing, the chap book. One knock-on effect of this economical approach to book production is that the resultant volumes themselves aren’t very big.

All this means that it would be hard to place an actual (680 mm x 440 mm) printed copy of the page on which this exhibition centres at the heart of the display and expect it to have much of a ‘wow factor’ to exhibition-goers. There will, of course, be original copies of the What to Look for in Autumn book on display but to achieve more of a visual impact we decided to scale the books up and make large versions of the key volume, based directly on the very first edition held in the Ladybird Collection itself.

Our own Morryce Maddams (Gallery Assistant) carefully measured the original book, before we had it digitally copied, scaled-up in image-editing software, and large paper surrogates were produced to order by the University’s dedicated in-house Design and Print Studio, which is closely interwoven with the Department of Typography and Graphic Communication. We deliberately based these images on the printed volume and not on the original artwork as we wanted the largescale versions to echo the dot-printed finish of the actual books.

Gallery Assistant Morryce Maddams working on a scaled-up book

This image shows MERL Gallery Assistant Morryce Maddams working on one of two scaled-up copies of the ‘What to Look For in Autumn’ book. One of these will be shown to display the cover and the other to show the double-page spread of the huntsman image and text on which the exhibition centres.

With the exception of one small deletion, the digital images used in these largescale versions were not altered in any way, so the massive dustjacket of the scaled-up book model designed to display the cover retains the abrasions and crayon marks of the copy on which it is based. The small piece of editing work was undertaken to digitally remove the name and address of a previous owner of this copy of the book. I’ll write a ‘Book Biographies’ blog post about this volume and its history in due course…

Tags: , , , , , , , , , ,

This is the second of these ‘book biography’ blog posts and it just happens to be a fairly brief one. Here is a copy of the What to Look for in Autumn book that is owned (and has been kindly lent to the exhibition) by Julia Waters. Julia works in Modern Lanugauges and European Studies so there is no obvious connection between her career/profession and ownership of this book. It seems that, as she herself has noted, that she simply ‘loved it as a child’.

A copy of What to Look for in Autumn belonging to Julia Waters

This copy has been laminated to protect it, a familiar treatment for many library books or those expected to see heavy use.

As with the copy I blogged about in the first post on this theme, Julia’s copy is an early edition that features the characteristic Ladybird patterned inside covers. Alongside this patterned interior, the corner of the flyleaf again reveals that early price of 2’6.

Price of 2'6 on the cover of Julia Water's copy of the 'Autumn' volume.

The standard price of Ladybird books in the early 1960s was 2/6 (two shillings and sixpence), as shown here on the dustjacket of Julia Water’s copy, where the dustjacket has been laminated onto the cover.

The tan-coloured stains of old sticky-backed tape marks in the photograph above and in the one below both reveal an earlier history of use. Was this copy once in an institutional collection, hence the laminated finish? What was the tape intended to adhere to these inside covers? We will almost certainly never know the answer to these questions but they certainly begin to highlight some of the subtle archaeologies of artefacts that careful visual examinations like this can highlight.

As Julia obtained her copy as a child and her copy has clearly had a ‘prehistory’, what this certainly indicates is that Julia obtained her copy second hand. In other words (and without seeking to reveal anyone’s age on an exhibition blog!) the book predates Julia herself. This also goes some way towards illustrating the enduring popularity of these books, which have been loved and will continue to be loved by subsequent generations of young readers.

Sellotape marks and pencil marks underlying laminate covering on this copy

Another history of use and perhaps a point of sale mark-up are shown in this image of Julia Water’s copy.

Whatever the earlier history of this particular copy might have been, as with Fiona Cummin’s example this volume is set to have a familial path of descent as it is also much loved by Julia’s 6-year-old daughter on whose shelf it normally lives when not on loan to MERL! Thanks to Julia and her daughter for letting us borrow it.

Tags: , , , , , , , , , , , , , , ,

As discussed above, the exhibition on Ladybird and Tunnicliffe at MERL will feature work by a number of academics from the University of Reading discussing what they look for in a single image from What to Look For in Autumn. The approaches range from Art History to Biology, Typography to Critical Theory. Each response is displayed on a banner or panel, that works through some key ideas. Many of these have now been printed.

1) Looking at the Artist introduces some biographical information about the artist Tunnicliffe, placing the image from What to Look for in Autumn in the context of his life and work.

2) Looking at Art and Style relates the image to the work of artists that influenced Tunnicliffe.

3) Looking at How to Look asks a range of questions about the framing of the image.

4) Looking at Artefacts explores the various objects depicted in the images, and from this discusses the representation the natural and the human

5) Looking at Childhood places the image in the context of changing C20th attitudes to childhood.

6) Looking at Letterforms relates the word forms in What to Look For in Autumn to typographical innovations within the wider series of Ladybird publications.

7) Looking at Book Design describes the printing and design process, and the influence technical considerations had on the image and the book from which it is taken .

8) Looking at Names uses the mushrooms depicted in the image as a starting point for a discussion of the relationship between names and things.

9) Looking at Absence is interested in things outside of the image’s frame and how they contribute to the image within.

10) Looking at the Hunt relates the image to some of Tunnicliffe’s other depictions of hunting

11) Looking at Science engages with the work of Grant-Watson, the biologist and writer who supplied the text that accompanies the image.

12) Looking at Learning relates the image to contemporary ideas of education and literacy.

13) Looking at Rural History approaches the image through changing ideas of the rural and nature.

14) Looking at Images is a photographic response to the What to Look For books by Wig Sayell, a contemporary artist.

Tags: , ,