Postcards from the nursery: the collection of Peter & Dawn cope

The magical collection of postcards and ephemera amassed by Peter and Dawn Cope has been represented by us here at Mary Evans for almost eight years.  We quizzed its owners, the authors of ‘Postcards from the Nursery’ (Cavendish Publishing, 2000) on the origins of this incredible archive.  Read on to discover more:

 

Children with tangled kites
What sparked your interest in postcards and their illustrators?

Good question. It comes down to the fact that Dawn trained as an architect and I was trained as a graphic designer, so we love visual imagery. In the early seventies when we were raising our family, we were attracted to a very shabby copy of Kate Greenaway’s ‘A Apple Pie’ at the Saturday antique market held behind The Standard pub in Blackheath. From there we built up an good collection of Greenaway books which were fashionable at the time.

Then we began to attend book auctions at Sothebys, then held at Chancery Lane. Here we met plenty of book people who opened our eyes to other illustrators including Willebeek le Mair, Charles Robinson, Rackham, etc, etc. I recall that we bid for and bought for £470 a set of 10 watercolours by Millicent Sowerby, illustrated by her for publication in Humphrey Milford children’s annuals. This led us into collecting 1920s children’s books.

On a rainy holiday trudging round a market in Truro we stumbled on a postcard album brim full of postcards illustrated by Humphrey Milford artists like Lilian Govey, Eileen Hood, Susan Pearse and Millicent Sowerby. Contained in the album were 500 postcards sent to two children living in Plymouth by their parents (who were away a lot) and their grandma. This fed our appetite for more, so countless postcard fairs then ensued.

Nursery land

It’s a pretty extensive collection. Do you know how many postcards you have?

About 10,000.

And are you still collecting?

Yes. The collection has broadened to include various artists and publishers whose illustrative work epitomises social taste and the activities of the period 1900-1930 – the years covered by our collection.

Do you have a particular favourite illustrator?

One of our many favourites is Florence Hardy, sister of Dudley Hardy and daughter of marine painter Thomas Bush Hardy. She trained at the Sorbonne as a miniaturist. But by the time she graduated there wasn’t much demand for miniature painting. And when her father drank himself to death in 1897 leaving his new young wife (formerly the family housemaid) with a baby, Florence was obliged to seek work as a postcard and greeting card illustrator, to support the large family. I was told she worked with a magnifying glass. If you look at one of her postcards you will appreciate that it is carried out with the precision of a miniaturist.

Pub: Humphrey Milford, 'Postcards for the Little Ones'. Sky Fairies series. Fairies frolicking in the sky. Artist: Amy Millicent Sowerby Date: 1920

A lot of postcard artists in this genre were women. Why do you think this is?

There is a section on the rise of women artists in our book (see pages 22-25). Briefly, towards the end of the nineteenth century more girls had the freedom to attend art school at a time when women were campaigning for greater independence. Enterprising women, mainly from the middle class, found that they could combine freelance commercial illustration without compromising their family duties. And when World War 1 came along they contributed to the war effort by creating patriotic postcards featuring children, aimed at spreading propaganda to the youngest members of society.

Four little girls dressed in identical red capes and carrying matching fur muffs step out looking very festive. Date: c.1920

Did you meet any of the artists featured in ‘Postcards from the Nursery’?

We met Molly Brett, René Cloke, Kay Nixon, Susan Pearse, Joyce Plumstead, Jenifer Rickard and May Smith. We also met many of the next generation whose artist relatives were by then deceased.

Other than postcards, do you collect any other types of ephemera?

Post-Victorian greeting cards (many illustrated by our favourite postcard illustrators)
Illustrated children’s books including:

Dean’s Rag Books and Rag Sheets 1902-1940 (about 300+ rag books and 100+ rag sheets) Miniature children’s books published by Humphrey Milford (about 300 books)
Kate Greenaway (extensive collection)
Henriette Willebeek le Mair (extensive collection of books, postcards and china)**

Paintings and drawings by children’s book artists including:

Florence Mary Anderson, Maude Angell, Honor Appleton, Edith Berkeley, Edna Clarke-Hall, Muriel Dawson, Charles Folkard, Lilian Govey, Kate Greenaway, Florence Hardy, Helen Jacobs, Helen Grace Marsh Lambert, Ethel Larcombe, Joyce Mercer, Ethel Parkinson, Susan Beatrice Pearse, Rosa Petherick, Agnes Richardson, Millicent Sowerby, Fred Spurgin, Margaret Tarrant, Dorothy Wheeler.

Nursery china
Penguin Books published 1960-1980 (about 2200 books)
Books on art and design

**During the nineteen seventies and eighties I acted as design consultant to a London-based publisher,
reproducing the illustrations of Henriette Willebeek le Mair into books and on to porcelain in a more modern format. As a result we were introduced to the son of her original publisher, Augener. He sold me several signed limited edition copies of her famous books.

Do you have any plans for your collection?

Our prime concern is deciding how best to keep the collection intact after we depart. Currently we are at an advanced stage of building a Filemaker database for the postcard collection which may be extended to our greeting cards and other ephemera in due course. Ideally, we will want to sell the collection as a single entity to a university library or national institution either in the UK or abroad.

Delineator July 1929 - Cover in Art Deco style depicts a woman by the sea with cruise liner. Date: 1929

Have you ever considered an exhibition?

We have held a successful three month exhibition entitled ‘Postcards from the Nursery’ at Bethnal Green Museum in 1979, which was widely reviewed in the national press. One of our guests was Susan Pearse, artist of the Ameliaranne series of books from the twenties, thirties and forties, who was approaching 100 years of age by the time the exhibition opened.

We would love to mount another exhibition and create another book with a fresh presentation, make corrections and add new material and information gleaned over the ensuing years since ‘Postcards from the Nursery’ was published 17 years ago. Ideas and suggestions would be most welcome.

Christmas scene

Can you explain the obsession among postcard artists with Holland?

In Edwardian Britain people began to venture abroad for their summer holidays. Holland was the popular destination of choice. The Dutch were friendly and welcoming and most of them spoke English, whereas the French, after many years battling with the British, tended to be less welcoming towards British holidaymakers.

Spain and Italy were too distant for all but the wealthy. Consequently, the Dutch responded to this surge of British visitors by creating a huge market for souvenirs for the British to take home, and postcards that they could send back to their loved ones. At this time children seldom went abroad with their parents, but remained at home with their governesses, so they would receive postcards from their parents depicting Dutch children.

Here’s a lightbox of 100 images from the Peter & Dawn Cope collection.

Dutch boy and girl in blue

Colouring in the Past – a History of Colouring Books, Then & Now

As crazes go, they don’t get much bigger than the current obsession with adult colouring books. Heralded as the new absorbing, therapeutic route to de-stressing and ‘mindfulness,’ colouring in is no longer just for the kids. Johanna Basford’s colouring books of intricate natural worlds, published by Laurence King since 2013, have sold a staggering 10 million globally. Millie Marotta, Batsford’s colouring queen, is shifting in equally eye-watering quantities. Jumping on the bandwagon is the magazine industry; titles currently on the newsstand include the self-explanatory ‘Colour In’ magazine, as well as those overlapping into the self-help market with titles such as ‘Colour Calm’ and ‘Zen Colouring.’ At a recent visit to the Spring Fair in Birmingham, we witnessed colour-in T-shirts, bags, cushions and more. Type ‘colouring in’ into Amazon and you find hundreds of books with words and phrases such as ‘therapy’, ‘relaxing’ and ‘I can’t sleep.’

How did we get here? What happened? How did it suddenly become acceptable for grown-ups to spend their time colouring in? For anyone who has sat with a child and helped them colour in, it is undoubtedly a rather pleasant experience (except when the child in question takes a thick, black crayon and starts going over the lines undoing all your good work. That can actually be quite upsetting). Adult colouring books began a few years back with a smattering of tongue-in-cheek books marketed at the young and hip. Those in search of an ironic gift could give their nearest and dearest a book from Mel Elliot’s Colour Me Good range starring outline drawings of the likes of Ryan Gosling, Damian Lewis, Taylor Swift or Benedict Cumberbatch. Michael O’Mara Books were one of the first publishers to produce a more ‘mainstream’ colouring book in 2012 with the ‘The Creative Colouring Book for Grown Ups’, i.e. something you were actually meant to colour in – properly. In 2016, there are now adult colouring books on every conceivable theme from Harry Potter and Game of Thrones to a neat little pocket book featuring Liberty of London textile patterns.

And so here we are. Modern life is so stressful, we apparently need to sit down and colour in to recover from it all. But whether you view colouring in as a harmless creative activity, or a mindless (as opposed to mindful) harbinger of the fall of civilisation, the advent of colouring-in, back in the 19th century, is rooted in surprisingly similar principles.

According to Wikipedia, the concept of colouring in was first suggested as a way to democratise art and was inspired by a series of lectures by painter Sir Joshua Reynolds, and the works of Swiss educator Johann Heinrich Pestalozzi and his student Friedrich Frobel. The belief was that colouring in led to spiritual edification and was a way to enhance cognitive abilities, so improving future prospects. Latching on to this idea, the first colouring book, ‘The Little Folks Painting Book’, illustrated by Kate Greenaway, was published in the United States by trailblazers McLoughlin Bros. in 1879. It’s worth mentioning that early colouring books were intended for paints and even by the 1930s, when crayons had become widely available, colouring books were produced with the aim of being suitable for either paints or crayons and continued to be called ‘painting books’ for quite some time.

We do not have ‘The Little Folks Painting Book’ at the library but we do have several other early examples, not least another Kate Greenaway illustrated book entitled simply, ‘Kate Greenaway’s Painting Book,’ published by Frederick Warne. Untouched by childish hands, this edition is in ‘mint’ condition, but rather more interesting is ‘The Merry Moments Painting Book,’ also published by Warne, where most of the outline drawings have been coloured in with crayon, the young artist carefully replicating the full printed version on the opposite page. Probably done at least half a century ago, it feels all the more charming for it. We also have a couple of beautiful colouring books by the animal artist Cecil Aldin as well as a 1930s ‘Magic Paint Book’ made by Renwick of Otley, which has clearly never come into contact with water. Tempting though it is to see if the ‘magic’ still works after all these years, we shall return it safely to the shelf without trying. Those of a certain age will also remember colouring in Christmas cards and we even have examples of these from the 1960s and 70s via the Medici Society archive.

Mary Evans Picture Library is awash with images that are begging to be coloured in though rest assured, any colouring in these days is done digitally and no crayons or coloured pencils are allowed near our collection of Victorian periodicals (some of our city panorama engravings from the Illustrated London News would keep even the most experienced colour-inner going for days). Fashion illustrations from The Tatler, domestic scenes from Girls’ Own or Good Housekeeping magazines, cartoons by Heath Robinson and H. M. Bateman not to mention hundreds of beautiful nursery illustrations by artists such as Margaret Tarrant from the Medici Society archive – all have massive colouring in potential for avid colour-inners who are looking for something with a historic or vintage flavour.

Inspired by the potential of our archive as a treasure trove of colouring in material, we felt it only fair to compile and share with you our own colouring book. It’s a little alternative, and, may we say, not for the faint-hearted, and it’s most definitely aimed at the adult market (though it’s all in the best possible taste). We should warn also warn you that, rather than calming and de-stressing, this is a colouring book to excite and stimulate the parts other colouring books don’t reach. Not for us namby-pamby vegetation, ocean worlds or furry animals, THIS is a colouring book that looks at the seriously colourful side of history. Sharpen your pencils and prepare to bring to life in full technicolour the past’s most risqué, decadent and bizarre from across the centuries. And please do share the fruits of your labour with us on our Facebook page. This is one kind of adult colouring book we think is seriously worth the effort! Click here to download your copy.