The University of Reading Art Collection is home to an amazing collection of paintings and drawings by artists as diverse as Leon Kossoff, Gerd Arntz, and Minnie Jane Hardmann. The University Special Collections also cares for the Ladybird Artworks Archive (part of the designated Archive of British Publishing and Printing) which contains over 700 boxes of original Ladybird Book illustrations.
The idea of looking through such a wealth of different paintings was what drew me initially to choosing this for my placement, but having the opportunity to explore the collections more widely has meant everyday offers something new. My primary task has been putting together a small exhibition for the ‘Ladybird in Focus’ display case.
Ladybird Books were a classic of British childhood until fairly recently. Originally published by Wills and Hepworth from 1914, these childrens’ books were intended to be printed between more major printing jobs to make use of the machines and produce small, inexpensive books for children. When paper was rationed during the Second World War, a new format was created. This is the small, compact and beautifully illustrated version we recognise today. No matter the subject, Ladybird Books maintained this 56-page, colourful format. They ventured, to great success, into new areas of publishing. From teaching children about science and nature, to history stories and even helping a generation of children learn how to read, you could find a Ladybird Book about almost anything.
With such a vast and impressive history, choosing a theme for my exhibition seemed daunting at first. However, as someone who has always been fascinated by languages, a mention of cultural differences and translated Ladybird Books by my supervisor planted the seed for ‘Ladybird in Focus: Going Global.’
Ladybirds’ expansion beyond the UK began with translating Ladybird Books from the original English into languages as diverse as Samoan, French, Danish, Arabic, and Afrikaans. The vast majority continued to be printed in Loughborough (just over 10 miles away from Leicester) before being shipped around the globe.
These translations also brought cultural considerations. One series of books was researched and written specially to help Caribbean children learn English. Meanwhile, illustrations suitable for European audiences may not be as well received by other cultures. For example, illustrations of pigs could be turned into sheep, and the length of girls’ dresses could be extended.
For a more detailed examination of the implications of these cultural and language, my exhibition ‘Ladybird in Focus: Going Global’ will be open from September 2021!
I have learnt so much already in these first six weeks: getting involved in deinstalling a major exhibition, learning how to pack and handle artwork, filling in condition reports, and creating various content for the website, from an educational resource about American Cubist Max Weber, to writing artist biographies and a blog about realism.
Every part feels like a valuable step towards (hopefully!) my future museum career, and curating this Ladybird exhibition has undoubtedly been a highlight. Not only have I been able to choose artwork and books and write interpretation, but also had the amazing opportunity to create and edit a short film.
From issues of British imperialism and the Middle East in the 1970s, to comparing foreign copies of The Ugly Duckling, I am really proud of formulating an exhibition which ties together the nostalgically beautiful with an important wider historical context.
The exhibition will be on display in the Ladybird Gallery within the fantastic Museum of English Rural Life in Reading.
Written by Laura May Bailey
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