In an earlier post I wrote about some of the strange coincidences that have emerged in the course of developing this exhibition. Another bizarre coincidence has now come to light. It is concerned not so much with a history relating to the written word or to visual culture but one that is nevertheless firmly centred on paper.
My colleague Helen Westhrop works as a Library Assistant in Special Collections and Cataloguing here at the University of Reading. In her spare time she is a keen blogger (her blog, Living Libraries and [Dead] Languages, is definitely worth following). Having been aware for some time that this exhibition was in progress and being interested in the Ladybird archive herself, Helen was trying to think of interesting ways of connecting her own writing with this collection. What she happened upon was a link between her own life story and the history of Ladybird books, possibly even connecting her with the physical manufacture of the Autumn volume at some stage in its later history.
Indeed, in the course of pondering ways to justify introducing discussion of the Ladybird collections she realised something rather amazing. At an earlier point in her career, Helen worked as a clerk in the Buying Office of John Dickinson Paper and Board, then based at Croxley Mills in Watford. One of this company’s most prominent customers was the publishing house Wills and Hepworth, producers of Ladybird books.
As Helen notes on her blog, she therefore at one time had a hand in the very production of these books, albeit from the source context of working for the company that produced the paper on which they were printed. Nevertheless, this surprising ‘paper trail’ and revealing ‘paper tale’ together provide yet more evidence of the fascinating stories that underpin this seemingly simple series of children’s books.
Far too often we take the material things in our lives for granted and give little thought to the highly complex processes involved in their production and distribution; the people and places, and the companies and cultures that lie behind the existence of artefacts like Ladybird books. Thanks are due to Helen for sharing her piece of this rich, detailed, and endlessly fascinating puzzle. Perhaps others might be persuaded to share their own part, however small, in the processes that brought subsequent editions of the huntsman image and the What to Look For books to the book shops and to our modern-day book shelves and bibliographic collections.
My earlier blog post today revealed yet another example of the Autumn volume from the well-known Ladybird What to Look For series. This post comes on a day when the publishing industry has itself been in the news. Penguin Group—itself the current owner of Ladybird Books Ltd—are reported to be in ongoing discussions concerning a possible merger with The Random House Group. This story is indicative of the major changes that are underway in the modern publishing industry and highlight how the book world is a dynamic context, whcih is constantly undergoing change and development.
Those interested in the contemporary face of publishing may also be interested to learn of some of the past changes to these companies. Readers of this blog will no doubt already be aware that the University of Reading is home to the archives of Ladybird Books but they may not know that these are held alongside historic materials relating to various companies encompassed by Random House.
From 6 October 2012 until 14 April 2013 an exhibition at the Museum of English Rural Life presents a range of different responses to a single illustration of rural life. It focuses on a small watercolour by the artist Charles F. Tunnicliffe.
'The huntsman, on his dappled grey..' by Charles Tunnicliffe (Image © Ladybird Books Ltd)
This was one of many artworks created by him for Ladybird children’s books. The painting featured in What to Look For in Autumn, published in 1960. This was part of a four-book series printed between 1959 and 1961. It was written by the biologist Elliot Lovegood Grant Watson and charted seasonal change in the countryside.
The original Ladybird artwork is held alongside the collections of the Museum of English Rural Life at the University of Reading. This juxtaposition inspired us to invite specialists to examine a countryside image. Their responses form the core of the exhibition and together offer different answers to the question of What to Look For. They reveal the diverse stories that one illustration can tell.
Here we intend to ask how you might choose to look at this image and read the accompanying text? Are you interested in the artist, the illustration or other artistic responses? Perhaps the written word is more important. Maybe histories of science, of childhood or of hunting are more inspiring to you. What of the design of the book, its role in reading and learning, and how it teaches us to see and think about the world? As the exhibition progresses we hope that you will share your responses and join the conversation here.
What to Look For? Ladybird, Tunnicliffe, and the hunt for meaning
6 October 2012 until 14 April 2013
Dr Ollie Douglas (Museum of English Rural Life) and Dr Neil Cocks (Department of English Language and Literature)