All About: #autoarchives

We've held onto this month's All About Transport blog post to bring you a selection of the Collection and Exhibition Team's favorite modes of transport for #autoarchives.  It is #ExploreArchives week afterall.  Don't forget to let us know your favorite mode of transport in children's books. 

Original artwork by Helen Craig for 'Angelina's Birthday'. HCr/01/04/04 Artwork © Helen Craig. Photography © Seven Stories – The National Centre for Children’s Books

I love the red bike that Angelina gets for her birthday, the excitement of getting a shiny new bike is phenomenal, Helen Craig conveys that so well through her beautiful illustrations.  We gave our daughter a bike basket just like Angelina’s when she was 7 and decorated our garden in much the same way that Angelina did with streamers and balloons.

Sarah McGlynn – Touring Coordinator

Section about materials in the Ladybird Book 'How to Make: Flying Models Photography © Seven Stories – The National Centre for Children’s Books

Spotting the difference between Ladybird books has become a habit of mine. There are just so many editions, so many similar titles and just so many books.  I had started to count editions of Ladybirds about motorcars to make this point.  I counted ten and then got distracted by a huge pile of ‘Tootles the Taxi’, before I finally realised how arbitrary such a count would be because I couldn’t decide when to draw the line.  Then I decided I wanted to write about Hovercrafts in Ladybird books before stumbling on this gem: ‘How to Make: Flying Models’. Ladybird have written about everything.  This book teaches us not only how to make the PERFECT paper aeroplane but how to make planes from wood – really committed crafting.  What this little task has made me realise is that people survived without the internet because they had Ladybird books.  The internet?  Please ask me about the Ladybird title ‘How to Internet Shop’ for #autoarchives

Danielle McAloon – Collections and 

Exhibition Assistant

Original artwork with annotations, by Barabara Jones for Timothy Tramcar, c. 1950. These illustrations show the campaign in favour of the trams, and a bus leaving poor Timothy in his wake. Photography © Seven Stories – The National Centre for Children’s Books

I love the artwork by Barbara Jones for Timothy Tramcar. It was actually one of the first ever artworks I saw when starting work at Seven Stories, and it stuck with me ever since. The artwork in places is quite psychedelic, and I was really excited to get to work in a place that uncovered such intriguing books! Recently I researched it further for a blog post, and the history of it I still find quite fascinating, particularly the illustrator’s involvement in documenting the dramatic changes in post war life around the UK, and how this feeds in to the story.

Alison Fisher – Exhibition Curator

Draft material by Elisabeth Beresford for her series of Wombles Titles. Photography © Seven Stories – The National Centre for Children’s Books. 

The Wombles are the perfect urban citizen. They keep to themselves, clean up rubbish, and have a strong sense of community. I love the fact that they form their lives around recycled material and objects, and are always having creative, if far-fetched, inventive ideas. In a story draft called ‘The Conservation Car’, the author Elisabeth Beresford describes how the Wombles come across a giant magnet and want to put it to use. It happens that fuel prices are too high for them to drive their car (a hotchpotch of castaway human objects) – so they attach the magnet to the front of it and get pulled along by an unwitting lorry. I’m sure they were the furriest hitchers the driver has ever had.

Charlie Shovlar – Career Development 

Module work placement student

Photographs from translated editions of 'The Little Train' illustrated by Edward Ardizzone. Editions include Japanese, Spanish and Afrikaans.  Photography © Seven Stories – The National Centre for Children’s Books.

I’m fascinated by the foreign editions of The Little Train book, illustrated by Edward Ardizzone in the 1973 which we’ve recently acquired.  Excuse the pun but there’s an intriguing story attached to the publication of The Little Train, which was written by Graham Greene and originally illustrated by Dorothy Craigie in 1946.  Seven Stories holds the original illustrations by both Craigie and Ardizzone and it is really interesting to see how they each chose to illustrate the same story, in their own different styles and media.  What I love about the foreign editions of the books is that not only has the text of the main story been translated as one would expect, but Ardizzone’s hand written text which is overlaid within his illustrations has also been translated e.g. in the labels on the map of the Little Train’s journey and in text written within speech bubbles.  Sometimes this has caused a practical problem for the translator / publisher so that in the Japanese, Spanish, Afrikaans, Norwegian, and Swedish editions of the book, you can clearly see where Ardizzone’s original text has been overwritten and hasn’t quite been disguised!  I also love comparing the text in all the different languages to see how the translator has coped with some of the more unusual words.  It’s particularly fun looking at the black ‘Stop – Boomp – Woosh…. Bump – Clang – Whee - Bang’ page and the very last ‘Puff, puff, puff’ page of the book.

Paula Wride – Collection Officer

All About: Boats

Continuing our monthly transport themed blogs, Seven Stories Exhibition Curator David Wright explores the significance of boats in the work of Edward Ardizzone.

Last week, the Collections and Exhibitions team at Seven Stories, National Centre for Children’s Books was working full steam ahead to ensure that our new exhibition was shipshape and ready to open for bank holiday weekend.

The exhibition uses original artwork from the Seven Stories Collection to celebrate the eightieth anniversary of the publication of Little Tim and the Brave Sea Captain, the first picture book by one of Britain’s greatest illustrators, Edward Ardizzone.

Edward Ardizzone: 80 Years of Little Tim exhibition. 

Little Tim is Ardizzone’s most famous character, starring in a series of eleven picture books, published from 1936 – 1977. Originally created as a character to amuse his son Philip, Tim went on to become one of the great heroes of children’s literature, described by Maurice Sendak, creator of Where the Wild Things Are, as:

“A proper, courageous, if somewhat headstrong seven year-old who has an insatiable wanderlust and lives in a house by the sea…”

Seven Stories Collection © Edward Ardizzone Estate

Ships, the sea and adventures on the waves are at the heart of all of the Little Tim books, with many of Ardizzone’s own childhood experiences informing his stories.

As a boy, the young Ardizzone was engrossed by postcards sent from overseas by his parents, who travelled the world working on government service. He was also fascinated by a ship’s logbook written and illustrated by his Great Grandfather, who had captained a ship that sailed from London to Bombay and back in 1846 – 47.

Growing up at the coast in Ipswich, Ardizzone loved to play by the docks with his cousin Arthur, sneaking aboard the ships to explore, sometimes befriending the crew, sometimes being chased away. Later, Ardizzone lived in Deal, Kent, in a house close enough to the sea for the gentle music of the bands playing aboard passing cruise ships to drift through his bedroom window at night. This house, backing onto a long pebbly beach, is immortalised in his books as the home of Little Tim, and his friends Charlotte and Ginger.

Tim, Charlotte and Ginger outside Tim’s house.  Finished artwork from Tim and Charlotte (Oxford University Press 1951) Seven Stories Collection © Edward Ardizzone Estate

Little Tim himself certainly shares his creator’s enthusiasm for all things nautical. When not sipping grog with his friend Captain McFee or practicing his knots on the beach, Tim can be found spotting "Cunarders" through his telescope, making his plans to run away to sea.

Tim gets his wish in Little Tim and the Brave Sea Captain, sailing out with the old boatman, in a small motor boat memorably named Saucy Sue Walmer. Disaster is never far away in the Little Tim series and before long Tim is narrowly avoiding a one way trip to Davy Jones’ Locker.

Despite the danger of this first adventure, Tim is desperate to go to sea again and never struggles in finding work as a cabin boy. Always eager to help, throughout the series Tim can be found scrubbing decks and peeling potatoes, painting ships and delivering the captain’s dinner; even reading Moby Dick to the crew and writing love letters home for the ship’s cook.

Ardizzone used his childhood experiences to bring the lively atmosphere of ships and the camaraderie of their crew to life on the page. When Little Tim and the Brave Sea Captain was first published in New York, Ardizzone decided to make the journey across the Atlantic in a small, slow cargo boat, rather than a comfy cruise ship, as he felt more at home aboard ordinary working ships.

Finished artwork from Tim in Danger (Oxford University Press 1953) Seven Stories Collection © Edward Ardizzone Estate

Never exhausted by his daily chores, Little Tim always leaves time to avert catastrophe and save the day. A truly fearless hero, Tim is permanently on hand to rescue his friends (and the occasional ship’s cat) from the storms and shipwrecks that are par for the course in Ardizzone’s briny tales.

If reading this blog has helped you find your sea legs, why not visit Seven Stories this summer to see some of Ardizzone’s masterful original illustrations for yourself.

Edward Ardizzone: 80 Years of Little Tim is on show at the Seven Stories visitor centre until 18 September 2016.

If you'd like to find out more about the Seven Stories Collection, then 

email: collections@sevenstories.org.uk or phone: 0191 495 2707 or comment on this blog.

All About: Dragons

This month's subject of our animals post is one our favourites - the dragon! We here at Seven Stories don't doubt the existence of the dragon, they are definitely a cornerstone of animals in children's books! There is also a Seven Stories touring exhibition all about dragons and Vikings currently making its way around the UK, having already visited Wolverhampton Art Gallery and Ulster Museum in Belfast, it will be showing in Kilmarnock, Norwich and Carlisle over the next year. To find out more about A Vikings Guide to Deadly Dragons with Cressida Cowell, click here.

Draft typescript for Peter Dickinson's The Flight of Dragons (Pierrot Publishing, 1979)

Our first showcase item this month is the collected correspondence, research and draft typescript from Peter Dickinson's The Flight of Dragons. This is a true gem of a book, where Dickinson deadpan's his belief in dragons, and calmly lays out the scientific basis for why dragons could have existed. The above image is a late draft of the main text of the book, where he lays his claim and sets out his thesis.

'I am not going to prove that ninety-foot lizards once floated in the skies of earth and scorched whole villages with plumes of flame, because I don't think it can be proved... But I can put together a coherent theory which is at least as probable as the theory that dragons are completely legendary.'

Extract from above image, Peter Dickinson, c. 1979

Dickinson carried out huge amounts of research for the book, some of which is evidenced within the archive. He hunted out many mythical stories, from around Britain and the rest of the world. Included was also a map of dragon myths from around the UK, including one very near Seven Stories Collection home, the Lambton Worm (less than 10 miles away!). The book covers many points in an attempt to persuade the reader of the existence of dragons, as is shown below.

'How they breathed fire, why they dieted on princesses but were able to go for such long periods between meals, what they actually used all that gold for, why Chinese dragons look different, why there are no fossils found so far, and so on.'

Extract from the first letter sent to Pierrot Publishing, outlining his idea for a new book on dragons, Peter Dickinson, 16th March 1978

The Dickinson Collection is extensive, constituting a complete record of Dickinson's work as a children's writer spanning from the 1960s until 2006, and provides information on all aspects of writing, editing and publishing books for children during the period covered. As the majority of Dickinson's children's titles were published in both America and Britain, the collection provides a great deal of information on the publication of children's books in both countries and illustrates some of the differences in attitude and approach between British and American editors and publishers. The collection also documents the relationship between the author, illustrator and publisher/editor in the production of illustrated titles, and the complications which can arise in such collaborations. 

Felt model of 'R. Dragon' from Rosemary Manning's Dragon series, c. 1980

The vast majority of the Seven Stories Collection contains 2D works, a huge amount of archive and artwork material, and so it is a treat for us to find any 3D objects lurking amongst the stacks in the store. This is a particularly beautiful handmade example of the limited number of objects in our collection. Although sadly we don't know who made this dragon, we do have a photo of Rosemary Manning holding a very similar model, and it was donated to the collection alongside rest of Manning's estate in 2007. Lis Whitelaw, the executor of the estate, said the model was created to celebrate the publishing of the final book in the series, Dragon in the Harbour, in 1980.

R. Dragon is the star of the Dragon series, the first three of which were published in the late 1950s and early 60s, and the final book, after a reasonably long hiatus, in 1980. It follows a young girl, Susan, who is on holiday at the beach when she discovers a dragon in a cave. She befriends him and he tells her many stories of his past adventures, and they occasionally go out together too. He is not the kind of dragon that goes around eating knights, or at least not any more (having lost his teeth...), and is one of the most well mannered dragons you are likely to meet after learning his manners at the court of King Arthur. He isn't a huge fan of all the tourists, but that can be counteracted by bringing him something to eat - which is why in the model above he is shown holding an almond bun!

The Manning Collection, other than model dragons, contains a collection of drafts, correspondence, and a small amount of original artwork and other associated material relating to some of her books for children. We also hold first editions of all of Manning's books for children, along with some American and foreign language editions, and inscribed first editions of several books by Catherine Storr, who was a close friend of Rosemary Manning.  

The Dragon by Archibald Marshall, illustrated by Edward Ardizzone (Hamish Hamilton, 1966)

Finally, this month’s featured book from our collection is The Dragon published in 1966. The story was first published 36 years earlier in Punch magazine, and then appeared in Archibald Marshall’s Simple stories from Punch in 1930, illustrated by George Morrow.

The quotation from the jacket flap tells us this story for children is a rather unusual version of the 'traditional tale of the beautiful princess, the dreadful dragon and the princes who came to kill it, told with several hilarious differences and the drawings of Edward Ardizzone at his wittiest.' Although Seven Stories does not hold any of the original artwork for The Dragon, fans of Edward Ardizzone might like to know that we do have artwork for two of his titles Tim in Danger, Tim and Charlotte and for Graham Greene's, The Little Train.

This copy of the The Dragon is taken from the Elaine Moss Book Collection. A personal collection - from the 1977 winner of the Eleanor Farjeon award - it consists of 773 children’s novels, picture books and books about children’s literature. Donated to Seven Stories by Moss in 2003, most were published between the 1950s and the end of 1990s, and is particularly strong in titles published in the 1970s and 1980s.

'Elaine Moss is a British critic and librarian whose work as a commentator and reviewer brought serious attention to children’s books. Moss trained as a librarian and worked as a teacher and in publishing before becoming a freelance journalist and broadcaster. As selector of the annual Children’s Books of the Year exhibition and author of the accompanying catalogue from 1970 to 1979, she played an important role in recognising the trends and talents that developed in that period. She championed the promotion of picture books to older readers, overturning the traditional restriction of picture books to children who cannot yet read.'

Julia Eccleshare in The Oxford Encyclopedia of Children’s Literature 

(OUP, 2006)

To find out more about the Thimble Press, with whom Moss worked regularly, click here.

If you'd like to find out more about the Seven Stories Collection, then 

email: collections@sevenstories.org.uk or phone: 0191 495 2707 or comment on this blog.

Hartlepool Festival of Illustration

Seven Stories have been happy to be involved in a brand new event around illustration in the North East - the Hartlepool Festival of Illustration.

Working with the festival organisers, we loaned several pieces of artwork from the Seven Stories Collection to an exhibition held at Hartlepool Art Gallery. Artwork from the below has all been on display alongside additional loaned works from Chris Riddell, Sara Ogilvie and John McCrea, amongst others. 

• Edward Ardizzone
• Shirley Hughes
• Polly Dunbar
• Sarah Garland
• Angela Barrett
• Helen Craig
• John Burningham

As part of the festival, we have also been out on a whirlwind tour of the local area, working with an amazing 730 participants over 10 days. The sessions took place in nine primary schools, one college of further education and in Hartlepool Art Gallery itself. Lynn hosted a spectacular 29 illustration workshops over this time - and is now on a well deserved holiday! This is what she has to say about the experience:

Having completed a two week residency in Hartlepool schools, I feel very privileged to have been involved with such an exciting outreach programme, using original materials from the Seven Stories Collection to help inspire the next generation of illustrators and designers.

Knowing that the exhibition would include materials to illustrate the creative processes in the making of a picture book, I was very keen to develop a primary workshop using illustrator Sarah Garland’s sketchbooks, and Polly Dunbar’s sketches and finished artwork for My Dad’s a Birdman, written by David Almond.

Based in a new school each day, I arrived each morning with 90 sketchbooks, HB pencils, graphite sticks and a gross of felt tip pens. Needless to say these were put to great use, the children hugely excited to have their own sketchbook and pencils, all kindly provided by Cleveland College of Art and Design. The workshops were planned to last between 75-90 minutes. Most followed a similar format with variations depending on the age and maturity of the pupils. 

Of courser it  wouldn’t be a Seven Stories workshop if it there wasn't any book chat! We talked about the children’s favourite storybooks, the authors and illustrators they knew and liked. We browsed picture books selection to look at style. Children talked about why they liked the illustrations and considered where authors and illustrators get their ideas from.

I wanted the children to experience quick sketching, and told them:

“We are going to look, talk, listen, draw, draw, draw again, draw some more, more talking, more drawing, more looking, talking, listening and if there is sufficient time, even more drawing!”

We looked at some facsimiles of artwork in the exhibition. They saw how illustrators use sketchbooks, sometimes drawing multiple images on one page. Sarah Garland’s quick sketches of families in the swimming pool show how little information is needed in a sketch for it to work as a preparatory drawing. They noticed how Polly Dunbar uses just a dot for an eye or a line for the mouth in her Birdman sketches. They considered how an illustrator develops a character from an initial sketch. From the slumped posture in the sketch of Lizzie’s dad, they started to understood how an illustrator can portray a character’s emotions in the pose or facial expression. We looked at Angela Barratt’s graphite sketch and finished drawing for The Snow Queen, and Helen Craig’s artwork for Angelina Ballerina.

An illustration workshop needs drawing time! We started drawing birds.

“How many different birds can you draw in a minute?”

We drew more, changing the size of beaks and wings to see how that affected the drawing. We handled feathers and a selection of soft toy birds. Talking about their achievements at the end of the sessions, many highlighted using graphite sticks to draw their real and imagined feathers as a favourite part. Graphite can be used for clean sharp lines or blended and smudged to create featheriness. It was a new medium for most of the young artists.

Examples of the students work

Next: drawing a human. I wanted the children to try drawing a simple human character, with not too much detail, as we would use our experience of drawing feathers and birds to transform our character. There was a real buzz throughout the entire workshops. I read extracts from My Dad's a Birdman or retold parts while the children were busy drawing.

Throughout the workshops children proudly showed back their work to each other and talked about their achievements. Every child participated. No one once said that they "couldn’t" or "didn’t" know how to draw a bird, feather or human. They were working as illustrators.

Next step storyboarding. We compared different approaches to storyboarding. I had included some additional storyboard facsimiles from the original Picture Book in Progress exhibition, held at Seven Stories visitor centre in 2014. The groups compared these with John Burningham’s storyboard which features in the Festival  exhibition. Children pointed out that some of the frames have very little detail, yet the sketches of animals are drawn in greater detail.

We were able to see how Sarah Garland’s storyboard for Doing Christmas was roughly sketched on lined A4 paper, how Judith Kerr used very faint drawings in her storyboards for Mog the Forgetful Cat and The Tiger Who Came to Tea. In contrast, Helen Cooper’s storyboard for Little Monster Did It includes everything she wants on the page including minute text. I heard  “wow” almost every time someone looked closely at this one. There is no right or wrong way in developing a storyboard - illustrators use them as they need.

Everyone had created a new character so the next stage was to think of what happened to them.  Everyone had a go at storyboarding 3 frames to show the participation: Frame 1 getting ready to start. Frame 2 character mid flight, to show the shape they make in the air.

Frame 3 Success? Failure? Cheers or splash?

In the extended workshops children then worked for some time developing one of their storyboard frames into an actual illustration. In her finished artwork, Polly Dunbar portrays   dad and Lizzie tumbling through the air wearing their beaks and feathers. Many of the participants worked on their own version of this scene.

On the second last day of the residency I led the illustration workshops in the Art Gallery surrounded by world class illustration.  I adapted the session for working with the older B Tech Students from East Durham College to include David Almond’s initial character notes for his Birdman, asking them to try to think along these lines when developing their own characters. They considered appearance, their character’s fears and desires. Would they have a special object? Several students annotated their drawings, finding this a useful way to develop ideas.

In addition to exploring the creative process through the original materials from the exhibition, the students were able to compare how different illustrators respond to the same subject, and compared Ralph Steadman’s illustration from Treasure Island with Chris Mould’s interpretation of the same scene.

On display, next to our workspace were several illustrations from Chris Riddell’s Ottoline books.  Chris had been named as the ninth Children’s Laureate days earlier. In his five point plan he includes the joy of sketchbooks and celebration of reading for pleasure. I talked about this with the groups and how Chris had been one of the key speakers at the festival launch.

We were doing just what he was suggesting, doodling with our birds and feathers and enjoying drawing in a beautiful sketchbook.

The  feedback has been  very positive with children reflecting on  what they had learnt or enjoyed,  including finding out how much works goes into the making of a picturebook. I had a thoroughly enjoyable time. When asked to reflect on something they had learnt as a result of the workshops, one 8 year old boy wrote:

“ I learnt I could draw!”

Lynn Telford

The Picture Book in Progress Illustration workshops were part of the Hartlepool Festival of Illustration, a partnership between Cleveland College of Art and Design, Hartlepool Borough Council and Seven Stories.

  

Edward Ardizzone artwork donation at the CILIP Youth Libraries Group conference

On 17th and 18th October I was delighted to attend the CILIP Youth Libraries Group, National Conference in Durham.  It was wonderful to meet so many enthusiastic Local Authority and School Librarians, who despite current financial challenges, are excited about children’s books and eager to enthuse their users about books and reading.  Over the two days, we were treated to a great line-up of speakers from the children's literature world including: authors such as Elizabeth Laird, Jackie Morris, and David Almond (all of whom are represented in Seven Stories’ archive collection); Prue Goodwin (lecturer and author of books about children’s literature); and Wendy Cooling (former head of the Children’s Book Foundation now known as ‘Book Trust’).

The magnificent Conference Gala Dinner was attended by a whole host of librarians, local dignitaries, publisher representatives, authors and illustrators.  Impassioned speeches about the importance of libraries were given by both Carnegie Medal 2014 winner author Kevin Brooks, and author Mal Peet (a former Carnegie medal winner).  During the proceedings I was presented, on behalf of Seven Stories, with a delightful piece of signed original artwork by Edward Ardizzone.  Apparently, in 1957, it was decided to have a special bookplate designed for items in the Library Association Youth Libraries Section (now known as CILIP Youth Libraries Group) collection.  Edward Ardizzone agreed to design the bookplate, and a fee of 10 guineas was accepted.

This is a lovely addition to our existing Ardizzone holdings which include artwork for two of his titles 'Tim in Danger', ’Tim and Charlotte' and his artwork for Graham Greene's, 'The Little Train'.

Tea and lunch breaks throughout the conference were sponsored by different Publishers during which delegates were treated to an amazing array of ‘book themed’ cupcakes!  One batch that particularly took my eye, were those provided by Macmillan Children's Books in celebration of eight titles in a new Classics edition, which include two titles by Ursula Moray Williams which are represented in our archive collection - Gobbolino the Witch’s Cat and Adventures of the Little Wooden Horse.

One of the conference Workshop sessions was led by Seven Stories, and centred on our recently announced book list, ‘Diverse Voices – 50 of the Best Children’s Books celebrating cultural diversity in the UK’.   Here are Debbie Beeks (Learning & Participation Manager) and Jake Hope (Freelance Children's Book Consultant) leading the workshop.

To find out more about ‘Diverse Voices’ and to see the list of 50 titles follow this link:

www.sevenstories.org.uk/news/latestnews/diverse-voice-top-50

I thoroughly enjoyed my time at the conference and even came back to work with 48 Proof copies of books (due to be published in 2015) for our Staff Library as well!

By Paula Wride - Seven Stories Collections Officer

To find out more about the Seven Stories Collection click here. To contact us click here.

'Illustration and Inspiration' at the Granary Gallery, Berwick

Over the past few months, we have been working with the curator of the Granary Gallery in Berwick, on their new exhibition 'Illustration and Inspiration'. 

Opening to the public on Saturday 11 October, and running until Sunday 18th January 2015, the display celebrates the extraordinary wealth of acclaimed children’s book illustrators from Northumberland and the Scottish Borders and the artists who have inspired them.

The exhibition includes works by Vanessa Cabban, Olivia Gill, Brita Granstrom & Mick Manning, Cara Lockhart Smith, Helen Stephens and Gerry Turley. Each of the illustrators have also selected work from the Seven Stories collection by illustrators who have inspired them or had an impact on their creative practice.

Artwork on loan includes work from the archives of some of our most prestigious illustrators, and it has been an interesting exercise looking at our collections through the eyes of practising illustrators, to see what and how certain artists have inspired them over their career.

Lindsey, the Seven Stories conservator, putting the final touches to one of the display mounts.

So as not to ruin the visit to the exhibition, I'll not say who chose what, but these are the artists whose artwork was chosen from our collections:

• Edward Ardizzone - artwork for 'The Little Train' by Grahame Greene
• George Him - artwork for 'The Giant Alexander' series by Frank Hermann
• Angela Barrett - artwork and sketchbook for 'The Snow Queen' by Hans Christian Anderson
• Tove Jansson - a letter with picture of 'Little My', written to her publisher Kaye Webb
• John Lawrence - artwork for 'Tiny's Big Adventure' by Martin Waddell
• Michael Rosen - preparatory notes for 'We're Going on a Bear Hunt'
  
  
  

  

  Artwork by John Lawrence for 'Tiny's Big Adventure' by Martin Waddell. These two pieces on display offer the opportunity to try and match up the images - the mice in the left picture should fill the voids in the right!

  

  Stunning artwork for 'The Snow Queen' by Angela Barrett, on display are a finished original piece of artwork, a first edition copy of the book, and Angela's fantastic sketchbook.

To find out more about visiting the exhibition, click here and to find out more about the Berwick Literature Festival click here.

If you want to find out more about this collection, or about any other of our archives then 
email: collections@sevenstories.org.uk
phone: 01914952707 
visit: http://www.sevenstories.org.uk/collection