Three from Mabel Rollins Harris (And One from William Fulton Soare)

Mabel Rollins Harris was a pinup/calendar artist whose most popular period was in the 1930s. She specialized in cheesecake-style women, female nudes and little girls. I confess I’m not particularly fond of her work overall. I find it generally uninspired, and I prefer strong lines and darker colors to the soft glowing look of Harris’s work. In fact, I’m not a huge fan of pastels in general. But she did produce a few notable pieces. The curly-top look of some of her little girls was clearly inspired by Shirley Temple, who was enjoying her greatest success during the same period. And the half-dressed toddlers in Look Who’s Here are fairly charming, I think.

Mabel Rollins Harris – Contemplating the Cookie Jar

Mabel Rollins Harris – Bedtime

Mabel Rollins Harris – Bedtime (detail)

Edit: I originally had two versions of the following image posted here, neither of which I was fully satisfied with. I have now replaced them with this superior version sent to me by one of our readers. Thanks, Lester! – Pip

Mabel Rollins Harris – Look Who’s Here

Mutoworld: Mabel Rollins Harris

Compare Harris’s work against this piece  by William Fulton Soare, which, while rendered in the same style and medium, I find to be a much more interesting and accomplished piece. Soare studied under master artist Dean Cornwell, and it shows.

William Fulton Soare – Mother and Child

Pulp Artists: William Fulton Soare

More Than a Fairy Artist: Margaret Tarrant

Margaret Winifred Tarrant (1888–1959) was born in Battersea, England, on 19th August, 1888. She was the only child of Percy Tarrant, who was a famous landscape painter, and Sarah Wyatt.

There are no detailed biographies about the artist, despite her fame and prolific output, though we do know that she started her studies at Clapham High School and after graduating in 1905, continued her education at the Clapham School of Art. She briefly studied teaching, however her father believed she was unsuited to this profession and redirected her attention towards painting. Once established as an artist she studied at Heatherley’s School of Art from 1918 till 1923, as she believed a new school would improve her technique.

Margaret Tarrant - (Unknown Title) (1916)

Margaret Tarrant – (Unknown Title) (1916)

Margaret Tarrant - Dream Ships (date unknown)

Margaret Tarrant – Dream Ships (date unknown)

Tarrant’s first published works were Christmas cards and in 1908 she illustrated her first book, an edition of The Water Babies by Charles Kingsley. The following year she created a series of paintings that were published as postcards by C.W. Faulkner. Over the next decade the artist continued to paint for various postcard publishers and also made illustrations for several books. Many of these works were exhibited at the Royal Academy, the Walker Royal Society of Artists and the Royal Birmingham Society of Artists.

Margaret Tarrant - Prim Told Him Her Story (1951)

Margaret Tarrant – Prim Told Him Her Story (1951)

Margaret Tarrant - Peter and Friends (1921)

Margaret Tarrant – Peter and Friends (1921)

Margaret Tarrant - Good Morning Little Red Riding Hood (1951)

Margaret Tarrant – Good Morning Little Red Riding Hood (1951)

During the 1920s fairies became popularised, helped by the publication of Sir Arthur Conan Doyle’s book Do You Believe in Fairies? and Tarrant was a major part of this scene. During this decade she collaborated with Marion St. John Webb on a series of fairy books, which displayed images of fairies along with short stories and poems. The books were similar to Cecily Mary Barker’s, both artists were friends, however they differed as Tarrant’s pictures were less naturalistic, more stylised and in the Art Nouveau style. Fairy stories were not the only type of paintings that the artist produced, she also created illustrations for children’s stories, books about animals, poems and verses. Additionally, she created a series of wild flower postcards, that she considered to be her best work, and religious themes appeared often. Many examples of her religious paintings can be found in this Flickr album.

Margaret Tarrant - Sycamore (1920s)

Margaret Tarrant – Sycamore (1920s)

Margaret Tarrant - Grapes (1920s)

Margaret Tarrant – Grapes (1920s)

Margaret Tarrant - Yellow Horned Poppy (1920s)

Margaret Tarrant – Yellow Horned Poppy (1920s)

After 1920 the artist was working almost exclusively for the Medici Society, who turned her paintings into postcards, calendars, greeting cards and prints. In 1936 the Society sent her on a holiday to Palestine where she enjoyed sketching landscapes and street scenes, two subjects that she rarely painted prior to this trip.

Margaret Tarrant - The Animals That Talked (1951)

Margaret Tarrant – The Animals That Talked (1951)

Margaret Tarrant - Shepherd Pipes (1920s)

Margaret Tarrant – Shepherd Pipes (1920s)

Margaret Tarrant - Toinette Sat Very Still (1951)

Margaret Tarrant – Toinette Sat Very Still (1951)

During the 1940s Tarrant slowed her output, though she did donate a lot of paintings to the war effort and produced images for about six books. With her health and eyesight deteriorating she stopped working in the mid-1950s and died from Multiple Myeloma in July 1959, leaving some pictures to friends and the rest of her estate to twelve charities.

The artist worked in many media, including pen, watercolor, graphite and silhouette type drawings. Her work is still popular today and the Medici Society is still selling prints on it’s website.

Pioneering Female Photojournalism: Esther Bubley

Esther Bubley was a freelance photographer that was active from 1945 to 1965. Many of her images are highly valued as historical documents as they cover a wide array of different social subjects. Mostly she photographed people going about their everyday lives, like workers and travellers on the American interstate bus network, children at play, medical workers and their patients or family life at home. She was remarkable as photo journalism was a male-dominated field at the time. So for a woman to be have an ongoing job in this field that also gave her a secure income was rare. Most images she made were not staged, which allowed her to take some truly intimate and natural photographs. The artist said she achieved this by becoming part of the daily rhythm of the hospital and disappearing into the background with her camera.

Esther Bubley - Children watching the animals at the National Zoological Park (1943)

Esther Bubley – Children Watching the Animals at the National Zoological Park (1943)

Esther Bubley - Children playing in a fountain in Dupont Circle (1943)

Esther Bubley – Children Playing in a Fountain in Dupont Circle (1943)

Esther Bubley (1921–1998) was born in Phillips, Wisconsin, the fourth of five children to Louis and Ida Bubley. She was inspired to start photography after viewing LIFE magazine and the Farm Security Administration (FSA) images of depression-era America. After high school, Esther spent two years at Superior State Teachers College then spent her third year at the Minneapolis School of Art where she studied photography.

In 1941 she moved to New York City to become a professional photographer and her first paid job was at Vogue where she photographed still-life images. Disliking this job, she moved to Washington D.C. where she found employment at the National Archives and spent her days making microfilm. Soon after, in the fall of 1942, Roy Stryker hired her as a darkroom assistant at the Office of War Information (OWI). During her spare time the artist made images of the daily events occurring in the Washington area. Her employer noticed the quality of these images and thought she would be able to add to the photo archives of the OWI. He hired her as a staff photographer and sent her on a six week journey across the country to document the lives of Americans during World War II. These photographs were then added to the OWI archives, which are now housed at the Library of Congress.

Esther Bubley - Spectators at the parade to recruit civilian defence volunteers (1943)

Esther Bubley – Spectators at the Parade to Recruit Civilian Defence Volunteers (1943)

Esther Bubley - Passengers standing in the aisle of a Greyhound bus (1943)

Esther Bubley – Passengers Standing in the Aisle of a Greyhound Bus (1943)

In late 1943, when Stryker left the government to set up a public relations project for Standard Oil Company (New Jersey) (SONJ), he brought with him many OWI workers, which included Bubley. Her work at SONJ was part of a huge photo-documentary project that had the aim of promoting the business and enhancing its reputation. Two of the artists’ best known projects come from this period. The first was a portrayal of the oil town of Tomball, Texas and the second, the “Bus Story,” which showcased the role of long-distance bus travel in American life that is accomplished through the use of oil products. Some images are now at the University of Louisville.

Esther Bubley - Children playing near schoolhouse, Tomball, Texas (1947)

Esther Bubley – Children Playing Near Schoolhouse, Tomball, Texas (1945)

Waiting room at bus terminal (1947)

Esther Bubley – Waiting Room at Bus Terminal (1947)

During this period she was briefly married to Edwin Locke, but they soon divorced. By 1947 Bubley’s work had expanded and she was now freelancing for several organisations. One of these organisations was the Children’s Bureau, a Federal child welfare agency. Over several years her images appeared in their journal, The Child, including more than thirty covers.

Esther Bubley - Child Monthley (Cover) (1947)

Esther Bubley – Child Monthly (Cover) (1949)

The following year, her work made its first appearance in a group exhibition called ‘In and Out of Focus’—her first of four appearances—at the Museum of Modern Art (MoMA). A magazine that she created a lot of images for was the Ladies’ Home Journal. There she produced a photo essay on mental illness, which was awarded a first prize in the Encyclopaedia Britannica/University of Missouri School of Journalism contest. The medically-themed photos continued when she was hired by the Pittsburgh Photographic Library to live in the Pittsburgh Children’s Hospital and document the activities within, a commission which took several months. Originally intended as a story in LIFE magazine, this was cancelled in favour of documenting the Queen Elizabeth II coronation. However, thirteen prints from this series were made publicly available when they were displayed in the exhibition ‘Diogenes with a Camera,’ held at MoMA. She also documented life at Blythedale Convalescent Home for Children, in New York, for the Children’s bureau. An example of this work is displayed below.

The artist’s most internationally recognised work appeared in 1953 when she was hired by UNICEF and the French government to travel to Morocco to photograph a program to treat trachoma. Over several months she travelled around Ouarzazate documenting people receiving medical treatment and the positive aspects of UNICEF’s work.

Esther Bubley - Esther Bubley's World of Children (1981) (1)

Esther Bubley – (Untitled) (1948)

Esther Bubley - African child (1953)

Esther Bubley – African Child (1953)

Bubley produced many other overseas photo projects, such as photographing the areas of Central and South America where Pepsi-Cola sold and manufactured their product. These images were then published in their corporate magazine Panorama, which was distributed to their bottlers and shareholders. Then in 1964 and ’65 Pan American World Airways sent her on a world tour to document the areas they serviced. These images were then published in their corporate magazine The Clipper, which was distributed to employees and shareholders.

Between 1950 and 1965 the photographer freelanced for many magazines; her stories focused on medicine, families and social issues. Many of her articles appeared in LIFE—two were cover stories. Additionally, she created a dozen photo stories for the Ladies’ Home Journal series ‘How America Lives,’ which ran intermittently between 1948 and 1960. The series was very popular and was expanded into two new series: ‘How Young America Lives,’ which profiled teenagers, and ‘Profiles on Youth,’ about children. Also of note during this decade was the appearance of several images in ‘The Family of Man’ exhibition.

Esther Bubley - LIFE (Cover) (1951)

Esther Bubley – LIFE (Cover) (1951)

Esther Bubley - Esther Bubley's World of Children (1981) (2)

Esther Bubley – (Untitled) LIFE magazine (1961)

Esther Bubley - Esther Bubley's World of Children (1981) (3)

Esther Bubley – (Untitled) Ladies’ Home Journal (1948)

After 1965 the artist reduced her workload, as the frequent travelling became tiring. Instead, she focused on projects of personal interest and photographed the New York area, where she lived. During this time she created a book featuring macro photography of plants, two books about pets and a book documenting 159 of her child photographs entitled Esther Bubley’s World of Children. Unfortunately the book doesn’t mention titles or dates for the images contained within. She died in New York City, of cancer, on March 16, 1998.

The website about Esther Bubley’s career contains a lot of information about the work she completed, though there are only about 200 images of average quality. Another book, which contains about thirty-six images by Bubley, appears on Entitled ‘Your Child from 6 to 12,’ it is an interesting read detailing child care in 1949.

Are You People Too?

Just something cute for you today. This painting was made by Theodor Grätz, of whom there is virtually no background data for on the web. This little toddler girl approaches what appears to be two orangutans and asks them if they too are people. It is exactly the sort of charming image that would’ve been used on a postcard in the early part of the 20th century, and I wouldn’t be at all surprised to find out it had been at some point. The image required a small amount of clean-up when I found it, but nothing too troublesome.

Theodor Grätz - Seid Ihr auch Menschen?

Theodor Grätz – Seid Ihr auch Menschen?

Preserving a Sense of Wonder: Rachel Carson

A child’s world is fresh and new and beautiful, full or wonder and excitement. It is our misfortune that for most of us that clear-eyed vision, that true instinct for what is beautiful and awe-inspiring, is dimmed and even lost before we reach adulthood. -Rachel Carson, A Sense of Wonder, 1965

The power of a single image is amazing, like the following odd but charming image found on a sales site. It came with no identifying information except that the face looming in the background was Helen Hayes. Being a famous actress, I figured there should be some clue to the photo’s history. One of our guest writers, Arizona, took the initiative and offered a treasure trove of leads which are the basis of this post.

Jules Power International - The Sense of Wonder (promotional photo) (1968)

Jules Power International – The Sense of Wonder (promotional photo) (1968)

It turns out that it was a promotional shot for a special nature documentary to be aired on ABC in late 1968 called The Sense of Wonder. This film was a posthumous tribute to biologist, writer and environmental activist Rachel Carson (1907–1964).

Carson was born near Springdale, Pennsylvania. An avid reader, she also spent a lot of time exploring her family’s 65-acre farm. She started writing her own stories at eight and by age ten, was published in St. Nicholas Magazine. In her childhood, she was inspired by Beatrix Potter, Gene Stratton Porter, and in her teens, Herman Melville, Joseph Conrad and Robert Louis Stevenson.

(Photogapher Unknown) -Rachel Carson reading to her dog Candy (c1913)

(Photogapher Unknown) -Rachel Carson reading to her dog Candy (c1913)

At the Pennsylvania College for Women (now Chatham University), Carson studied English then switched her major to biology in 1928, still contributing to the school’s student newspaper. She graduated in 1929 and did postgraduate work in zoology and genetics at Johns Hopkins University, earning her master’s degree in zoology in 1932. She intended to continue on to doctorate work, but the first of a series of family tragedies in 1934 forced her to find steady work to support her family.

She took a temporary position with the U.S. Bureau of Fisheries, writing radio copy for educational broadcasts focused on aquatic life, all the while submitting articles to newspapers and magazines. In 1936, Carson became only the second woman in the Bureau of Fisheries to be hired for a full-time professional position. Due to her skill at writing, she was encouraged to expand her various research articles into a book, Under the Sea Wind (1941). Carson continued with the Bureau (by then called the Fish and Wildlife Service) through the 1940s because there were few other naturalist jobs—money in the sciences was focused on technical fields during the advent of the nuclear age. During that time, she encountered the subject of DDT, a revolutionary new synthetic pesticide, but because editors found the topic unappealing at the time, nothing was published on the subject until 1962. Carson continued to move up the ranks in the bureau with its increasing administrative demands, prompting her to make a conscious effort to transition into full-time writing. By 1950, she published The Sea Around Us. Because of the success of this book and a reprint of Under the Sea Wind, she was able to break away permanently in 1952.

Her books were made into a screen adaptation in 1953, but she was displeased with the result and lack of creative control and never sold the film rights to her work again. Her third book, The Edge of the Sea (1955), focused on her special interest in the dynamics of coastal ecosystems. She had a special connection with the coastlines of Maine and she along with her closest friend, Dorothy Freeman, purchased and set aside some land for preservation they called the “Lost Woods.”

Another family tragedy gave Carson the responsibility of raising her orphaned 5-year-old nephew and she moved to Silver Spring, Maryland. For the rest of her life, she would focus on the overuse of pesticides, particularly chlorinated hydrocarbons and organophosphates. The result of her careful research in the subject led to her most well-known book, Silent Spring (1962). It was a pioneering piece and is credited with being to first to give public attention to environmental degradation caused by pesticides and industrial activities generally. To accomplish credible research, Carson took advantage of her personal connections with government scientists, who willingly shared confidential information. She attended FDA hearings on revising pesticide regulations, coming away discouraged by the aggressive tactics of the chemical industry and the insidious implications of financial manipulation. She also developed good working relationships with medical researchers investigating the carcinogenic effects of these compounds. The completion of Silent Spring was delayed because of Carson’s poor health and subsequent diagnosis with breast cancer in the early 1960s. After her dire prognosis, she arranged for her manuscripts and papers to be bequeathed to the new state-of-the-art Beinecke Rare Book and Manuscript Library at Yale University.

In 1965, Marie Rodell, Carson’s long time agent and literary executor arranged for the publication of an essay intended for expansion into a book: A Sense of Wonder. The essay exhorts parents to help their children experience the pleasures of contact with the natural world. Carson early recognized the importance of exposing children to nature and even wrote an article dedicated to the subject, Help Your Child to Wonder (1956). But it was only during the raising of her nephew that this idea came to the fore. After the publication of A Sense of Wonder, Jules Power, an executive producer of nature films for ABC took an interest in making a news special based on Carson’s work. The script, written by Joseph Hurley, was based on that essay and was supplemented with information from The Edge of the Sea. It was narrated by Helen Hayes and its two-year production brought cameramen to several locations in the United States, with special emphasis on the Maine and Florida coastlines. The film, The Sense of Wonder, was produced by Daniel Wilson, directed by Alan Seeger and aired in November 1968. The film also gave some coverage to nature photographer Ansel Adams, offering a west coast perspective.

Jules Power et al - The Sense of Wonder (1968)

Jules Power et al – The Sense of Wonder (1968)

Carson understood the challenge of parents who have inquisitive children; they would never be confident about answering all their questions which might range from the microscopic world to the mystery of the skies. Her answer to such concerns was that attitude is much more important than knowledge.

If a child is to keep alive his inborn sense of wonder, he needs the companionship of at least one adult who can share it, rediscovering with him the joy, excitement, and mystery of the world we live in. -Rachel Carson, A Sense of Wonder, 1965

I sincerely believe that for the child, and for the parent seeking to guide him, it is not half so important to know as to feel. -Rachel Carson, A Sense of Wonder, 1965

Carson was also aware of the realities of city life for many children and encouraged them nonetheless to explore what nature existed there and to listen to the songs of birds and insects.

Although the film was innovative for its time, it is hard to recognize this with today’s highly-polished, big-budget nature documentaries. As a result, there are only a handful of neglected copies in university libraries in the midwest. You will notice how red the film still is—a consequence of celluloid that was not stored properly. It is ironic that a little girl was used to promote the film, because most of the scenes with children in the documentary showed boys. This may have been an unconscious bias of the producers, but I think Carson would agree that it is just as important to expose little girls to nature and science as boys.

Historical Photographic Archives of Children

In Christian’s research, he is always looking for archival images of children and so comes across some good collections that should be shared.  The first image is from an unknown photographer.  The photo gives the impression of a poor girl in a dilapidated neighborhood but anyone with a knowledge of history knows the girl is sitting among the rubble of World War II.

(ARtist Unknown) - London (1940)

(Artist Unknown) – London (1940)

Vintage Children: And The Stories That Go With Them is an excellent site that has both documentary photographs and artistic portraiture from about the US Civil War up to the Great Depression.  The thing about this site is that each image comes with a little background information.  One of the interesting stories here is about discovering the identity of one of the most popular postcard models, Grete Reinwald.  I never had the time to get the whole backstory, so I never got around to sharing it with the readers.  If you are a purveyor of vintage postcards, you have almost certain seen this little German girl.
Postcard Featuring Grete Reinwald (c1905)

Postcard Featuring Grete Reinwald (c1905)

Another site called Vintage Images has almost 1500 images of children appearing on postcards, both photographs and illustrations.  Some of the artists are slated to be covered on Pigtails.

A Gaze, a Glimpse from a Girl on Horseback

A gaze on horseback

Yann Arthus-Bertrand – Human (2015) (1)

Close-up (1)

Yann Arthus-Bertrand – Human (2015) (closeup)

Where a trailer would want to be an introduction or characterization or an appetizer to the movie, can a film still from a movie or trailer be a characterization of the movie? And, secondly, can it stand on itself as a picture, without having watched the movie? Or even can one recognize it was from a movie? Did you realize, at first glance that the picture above was from a movie? And furthermore, can a picture taken from a movie stand on its own merit and characterize the movie? Can a “snapshot” produced by one of the several video players become a kind of artistic photography?

Yann Arthus Bertrand - Human (2015)

Yann Arthus-Bertrand – Human (2015) (2)

The two stills come from the documentary Human (2015) by the French photographer, reporter, film director and environmentalist Yann Arthus-Bertrand. In 1991 Bertrand founded the Altitude Agency, the first press agency specializing in aerial photography. The film is composed repeatedly of aerial footage interspersed with first person stories told directly into the camera, and close-ups of other people during the telling of the story, giving the impression that they were listening. So this is a movie about humankind, with landscape scenes recorded at high speed to produce the effect of slowed down live action. That is the story and rhythm of a long and rather slow movie about humankind—its pains and joys: love, children, work, dreams and expectations, disappointments, death, the day to day mysteries of life. And about how we use the Earth, but also about—as in a line of poetry by Emily Brontë—“How beautiful the Earth is still”.

Maybe the slower landscape shot and aerial scene suddenly brought to my eyes a girl, gazing for a glimpse and then riding away. I saw her for the first time in the trailer. Maybe it was the briefness of the scene that made her gaze especially startling. I recommend both the trailer and, of course, the whole documentary (188 minutes long). And I wish to recommend these chosen film stills; first the gaze at first glance and, second, a logical end of the short scene. These pictures are not characteristic of the film in the sense that the film is not only about this girl. I do not even know her name, but she can stand for the title of the film. And I would like to add, she herself can stand for a kind of freedom—not merely a child riding her or his first bike, but on a horseback on the plains of her homeland. In this context, this behavior is probably quite usual for children, even girls. Nevertheless, in this brief passing by, there is a glimpse of freedom and a gaze of mutual understanding held in the eye of the everlasting beholder.

Returning to the questions asked in the beginning, it is by chance whether one first sees the full movie, a trailer or just a single image. In my case, it was the trailer with the sudden appearance of the girl on horseback and that gaze. In that instant it became a film still in my memory, long before the use of technology allowed me to express it. From now on, I can choose to look at every film still as a picture and every picture as a film still from a movie. However, it is the eye that judges the picture’s quality and decides whether it represents the tone of the movie. This way of watching is helpful when writing about movies where the focus is on a specific girl or girls—or about the “girl” archetype—here derived as a kind of subtopic, not from a typical coming-of-age movie, but from a beautiful movie about humankind in general.

Yann Arthus Bertrand - Human Official Poster (2015)

Yann Arthus-Bertrand – Human Official Poster (2015)

Human by Yann Arthus-Bertrand: Official Trailer on YouTube

Human (Extended version, Vol. 3) on YouTube

Creator of Sarah Kay: Vivien Kubbos

Researching illustrators of children’s books can sometimes be a challenging task. Many are freelance workers so they may only illustrate a small number of books as well as doing other illustrating jobs. Combine that with the fact that some books don’t mention the illustrator and so using WorldCat or any other cataloging site is rather useless. One example is Vivien Kubbos. Another complicating factor about Vivien is the fact that she does not desire fame or attention and therefore does not have a website or do any interviews. Vivien Kubbos could have been famous as she was the originator of the Sarah Kay Collection.

Vivien Kubbos - (Untitled illustration) (c1970's) (1)

Vivien Kubbos – (Untitled illustration) (1970s) (1)

Vivien Kubbos - (Untitled illustration) (c1970's) (2)

Vivien Kubbos – (Untitled illustration) (1970s) (2)

The Sarah Kay Collection was started by Valentine Publishing in the early 1970s and quickly became popular among girls throughout Australia, New Zealand, most of Europe and Latin America. Sarah Kay illustrations were featured mostly on greeting cards, swap cards and postcards. Sarah Kay fell out of fashion in the 1990s; however this only lasted until 2005 when she relaunched, presumably with new illustrators doing the work. The thing I find adorable and gorgeous about Sarah Kay images are they are the complete antithesis of the ideas pushed on children in our current society. The girls in these images do not worry about what they wear and if they get holes in their clothes—they simply repair them with patches. There is no obsession with shoes either: the children are currently wearing none and back in the 1970s and ’80s they wore thick leather shoes, sandals or sneakers. The idyllic imagery also adds to the illustrations’ appeal. Sarah Kay merchandise can still be purchased on their website.

Vivien Kubbos - (Untitled illustration) (c1970's) (3)

Vivien Kubbos – (Untitled illustration) (1970s) (3)

Vivien Kubbos - (Untitled illustration) (c1970's) (4)

Vivien Kubbos – (Untitled illustration) (1970s) (4)

Vivien Kubbos - (Untitled illustration) (c1970's) (5)

Vivien Kubbos – (Untitled illustration) (1970s) (5)

Vivien Kubbos also illustrated many of the books in the Pony Pals book series, written by Jeanne Betancourt and published by Scholastic. Frustratingly not all the books mention the illustrator’s name. The images I used came from the book Western Pony, written by Betancourt and published in 1999. All images are drawn in pencil.

Vivien Kubbos - Western Pony (1999) (1)

Vivien Kubbos – Western Pony (1999) (1)

Vivien Kubbos - Western Pony (1999) (2)

Vivien Kubbos – Western Pony (1999) (2)

These images clearly show how easily Vivien can change her style and what a hugely skillful artist she is. I find the images of the people, and more so the horses, to be very realistic.

Vivien Kubbos - Western Pony (1999) (3)

Vivien Kubbos – Western Pony (1999) (3)

Vivien Kubbos - Western Pony (1999) (4)

Vivien Kubbos – Western Pony (1999) (4)

Finally we have what must be Vivien’s defining work: The Wizard of Jenolan, written by Nuri Mass and published by Just Solutions in 1993. The Wizard of Jenolan is a rewriting and re-release of a book first written by Nuri Mass in 1946, so if anyone thinks of buying the book, the images are only in the 1993 re-release. All the images are drawn in pencil. The story is about Thel who, under the spell of “Something”, follows a Wallaby down a tunnel into the Jenolan Caves. While in the cave system Thel discovers that the caves are not as they seem to other visitors and the outside world; she has many magical experiences such as travelling back in time and encountering creatures that want to borrow her reflection. She also talks directly with the caves themselves which teach her about how they were formed. The Wallaby eventually leads her back out but Thel then falls asleep so that when she wakes up she is not quite sure if she ever did follow the wallaby into the cave or that she dreamed it.

Vivien Kubbos - The Wizard of Jenolan (1993) (1)

Vivien Kubbos – The Wizard of Jenolan (1993) (1)

Vivien Kubbos - The Wizard of Jenolan (1993) (2)

Vivien Kubbos – The Wizard of Jenolan (1993) (2)

Vivien Kubbos - The Wizard of Jenolan (1993) (3)

Vivien Kubbos – The Wizard of Jenolan (1993) (3)

Vivien illustrated many other children’s books, did painting for commemorative merchandise and in retirement spent most of her time painting, though these subjects are outside the scope of this blog and so are not displayed. Additionally, given that she is not always credited, there are probably many works by Vivien that are yet to be acknowledged.

Vivien Kubbos - The Wizard of Jenolan (1993) (4)

Vivien Kubbos – The Wizard of Jenolan (1993) (4)

Archives Destroyed: David Simpson

Quite a sensational title isn’t it? So I shall start by saying that a large part of the archives have indeed been destroyed. In 2011 David was charged and convicted on child pornography charges; this fact made his own son so insane that he went to his father’s house and burnt all the archives stored there. A more detailed explanation can be found in this news article. Such is the result of people’s hatred for paedophiles.

Little is known about David Simpson and with a name this common, it can be difficult to find the right person when you are simply searching for his name. The few biographical details I found appear in the children’s books he has helped to produce. David was born in 1931. For five years David trained as an R.A.F. photographer and when he left the air force, he first worked at the Baron Photographic Studios—photographers of the Royal Family. He then opened his own studios where he specialised in child portraiture. David moved to Adelaide, Australia in 1969 and continued to photograph independently. Most of his portraits were still of children.  Occasionally he would be commissioned to photograph famous people and would also do photography for children’s books. The only book I found to be of relevance to this blog was Tanya and Trixie by Colin Thiele, published by Rigby Opal Books in 1980.

David Simpson - Tanya and Trixie (Cover) (1980)

David Simpson – Tanya and Trixie (Cover) (1980)

The book is about Tanya who lives on a farm in the Australian countryside. The book starts off by telling us about the morning chores Tanya does.

David Simpson - photograph from book Tanya and Trixie (1980) (1)

David Simpson – Tanya and Trixie (1980) (1)

Then in the afternoon, when her dad leaves the farm, Tanya and her brother go fishing. During the fishing expedition Tanya goes swimming then falls asleep in the grass and dreams about the horse she so dearly wants.

David Simpson - photograph from book Tanya and Trixie (1980) (2)

David Simpson – Tanya and Trixie (1980) (2)

Tanya and Trixie Page25

David Simpson – Tanya and Trixie (1980) (3)

David Simpson - photograph from book Tanya and Trixie (1980) (4)

David Simpson – Tanya and Trixie (1980) (4)

She soon wakes up and goes back home where she finds that her dream has come true as her dad comes home with a horse.  The book ends with an image of Tanya riding Trixie.

David Simpson - photograph from book Tanya and Trixie (1980) (5)

David Simpson – Tanya and Trixie (1980) (5)

David Simpson - photograph from book Tanya and Trixie (1980) (6)

David Simpson – Tanya and Trixie (1980) (6)

From these pictures we can see that all these decades of photographing children has created a real ability in being able to capture the innocence and beauty that children have. I shall finish this post with some of the photographs I found on auction sites or in the background of other pictures, they are not high quality but still manage to show David’s photographic talent. These images also prove that the entire archive hasn’t gone, there would be many copies in private collections and public art galleries.

David Simpson - Alice - (unknown date)

David Simpson – Alice (Date Unknown)

David Simpson - (unknown title) - (unknown Date) (1)

David Simpson – (Title Unknown) (Date Unknown) (1)

David Simpson - (unknown title) - (unknown Date) (2)

David Simpson – (Title Unknown) (Date Unknown) (2)

David Simpson - (unknown title) - (unknown Date) (3)

David Simpson – (Title Unknown) (Date Unknown) (3)