Tolkien’s favourite landscape artist?

14 Thursday Feb 2019

Tags

Bodleian Library, Catherine McIlwaine, J.R.R. Tolkien Artist & Illustrator, J.R.R. Tolkien Companion and Guide, landscape, Morgan Library, Tolkien & art, Tolkien: Maker of Middle-earth, watercolour, Weston Library, William Russell Flint

It’s finally time to wake this blog up. Last semester’s heavy teaching load, some eldercare responsibilities, and research commitments meant that I had to focus on other things, but I foresee a more reasonable schedule now. I have so many hoarded items I’ve been meaning to write about, so let’s start pretty much where I left off last summer – with the Tolkien: Maker of Middle-earth exhibition at the Bodleian, now recently opened at the Morgan Library in New York.

I had the good fortune to visit the exhibition at the Bodleian Library in Oxford last summer. By all accounts, it was a huge success, running from June to October 2018. Tolkien archivist Catherine McIlwaine organized this exhibition of Tolkien’s paintings, letters, photos, maps, doodles, and other memorabilia. Once in the main exhibition hall in the Weston Library (part of the Bodleian network), you could wander at will or sit and gaze, and linger as long as you liked. Seeing Tolkien’s original paintings was a rare treat – up to now, a sight reserved for very few people. I was impressed by how finely detailed and precise his watercolours were. It was fun to see his desk and colouring pencils – on display was a full case of Polychrome coloured pencils in various shades of green – somehow I would have expected that. On another shelf, we could see his jars of Reeves’ poster colours.

One item that I found intriguing were the pictures that were hanging on the wall by his desk, loaned to the Bodleian by the Tolkien family. According to Catherine McIlwaine’s magnificent book, Tolkien: Maker of Middle-earth, which catalogues the exhibition, Tolkien bought these prints by William Russell Flint when a student at Oxford and kept them for the rest of his life. They depict the Oxfordshire countryside and originally illustrated Matthew Arnold’s The Scholar Gipsy and Thyrsis. According to McIlwaine: “Tolkien continued to look at the paintings for the rest of his life and they hung in his rooms wherever he resided. They were among a select group of personal items which he took to his last residence, a small flat in Merton Street provided by Merton College in 1972” (p. 284).

You can find pictures of the prints on page 285 of McIlwaine’s book. Below, you can view them as illustrations in a 1911 American edition of Arnold’s book, available through the Hathi Trust Digital Library. (Note that the colours of the book illustrations look darker than the pictures in McIlwaine’s book).

William Russell Flint. Watercolour. "The stripling Thames at Bab-lock-hithe"

William Russell Flint. Watercolour. "The Line of festal light in Christ Church hall"

William Russell Flint. Watercolour. "Its fir-topped hurst, its farms, its quiet fields"

William Russell Flint. Watercolour. "And the eye travels down to Oxford's towers"

Images: William Russell Flint watercolour illustrations for Matthew Arnold’s The Scholar Gipsy and Thyrsis. Top left: “The stripling Thames at Bob-Lock-Hithe”; Top right: “The Line of Festal Lights in Christ Church Hall”; bottom left: “Its Fir-Topped Hurst, its Farms, its Quiet Fields”; bottom right: “And the Eye Travels Down to Oxford’s Towers.” (Click on individual images to enlarge).

What instantly struck me when looking at the pictures – though I had to peer through glass at a far wall to see them – was that the style could have influenced some of Tolkien’s early watercolour landscapes. As it turns out, the same thought had already occurred to Catherine McIlwaine, who comments in her book that there’s a resemblance to Tolkien’s “King’s Norton from Bilberry Hill” (painted in 1913) and “Lambourn. Berks” (1912). The latter, according to Wayne G. Hammond and Christina Scull, was a sketch Tolkien made on a walking tour (Artist & Illustrator, p. 17) and the former was an outdoor sketch as well. Perhaps it’s unfair to compare a young man’s sketches with a professional artist’s published work, but take a look at the two pictures below. What do you think? Is there a distinct influence, or is it a general stylistic resemblance that would have been shared by many watercolour landscape artists of the time?

Tolkien. Lambourn, Berks. Watercolour. Artist&Illus. fig 11

Images: left: Tolkien, Lambourn, Berks. Watercolour. Artist & Illustrator, fig. 11; right: Tolkien, King’s Norton from Bilberry Hill. Watercolour. Artist & Illustrator, fig 16. (Click on individual images to enlarge).

I’ll be posting more snippets about the exhibition, both in Oxford and New York, in the days ahead, but if you’re interested in a more extensive account (or if you’re looking forward to the New York version), I don’t think you can find a more thorough description than this post on the Tolkien Collector’s Guide, “Tolkien’s Maker of Middle-earth Exhibition at The Bodleian – A Retrospective.”

For further reading:

Catherine McIlwaine. Tolkien: Maker of Middle-earth. Bodleian Library, University of Oxford, 2018.

The standard work on Tolkien’s art is Wayne G. Hammond and Christina Scull’s J.R.R. Tolkien: Artist and Illustrator. HarperCollins, 2004.

In Scull and Hammond’s J.R.R. Tolkien Companion and Guide (pp.1483–1503), they included a list of published art by Tolkien, which they updated in July 2018 to include items in the Bodleian exhibition publications. “Published Art by J.R.R. Tolkien, From the J.R.R. Tolkien Companion & Guide. Revised July 2018” [pdf]

Tolkien art exhibition at the Bodleian

06 Wednesday Jun 2018

Posted by Anna Smol in Tolkien

≈ 1 Comment

Tags

Bodleian Library, Catherine McIlwaine, Smol and MacLeod, Tolkien & art, Tolkien Archive, Tolkien Archivist, Tolkien as artist and writer, Tolkien Studies (journal), Tolkien: Maker of Middle-earth, Visualizing the Word, Weston Library

Sometimes it’s hard to tell which comes first: is it the illustration and then the text, or does the text come first and then the illustration?

That’s a question posed by Catherine McIlwaine, the Bodleian’s Tolkien Archivist, as she reviews some of Tolkien’s artwork with illustrator Alan Lee. And that’s exactly the question that my co-author Jeff MacLeod and I asked in our recent article published in Tolkien Studies (“Visualizing the Word: Tolkien as Artist and Writer“), which I’ve written about here.

You can see Catherine McIlwaine and Alan Lee looking at some of Tolkien’s paintings in the video below, celebrating the Bodleian Library’s new exhibit, Tolkien: Maker of Middle-earth. The conversation about Tolkien’s art occurs from around 0:52 to 2:22, but the entire video contains enticing glimpses of what is now on display at the Weston Library (one of the Bodleian Libraries).

Those who were lucky enough to attend the launch and visit the Library in these first few days have published excited reports that seem to confirm what we’ve been reading in the reviews: that this is, as John Garth put it, “a once-in-a-generation” exhibition of artifacts, documents, and artwork. There’s lots to see, but one part that I am especially looking forward to is the original artwork, something that only very few people are normally allowed to examine in the Tolkien Archive.

Jeff and I have written about one example that demonstrates how Tolkien used his sketching to draft his text and the general interplay between image and text in his work. We only had room to discuss one manuscript example, but there would be many others. We also discussed, among other points, how Tolkien’s prose style and the expression of his theories are shaped by his visual practice. In other words, we argue that image does not necessarily come after text but that both image and text are integrally related in Tolkien’s creative imagination.

I’ll be in Oxford next month when I’ll be fortunate enough to see Tolkien’s original work, from doodles to finished art pieces. In the meantime I’ll be posting occasionally some reviews and information about the exhibit and Tolkien’s art.

How to find our article:

Jeffrey J. MacLeod and Anna Smol. “Visualizing the Word: Tolkien as Artist and Writer.” Tolkien Studies, vol. 14, 2017, pp. 115-131. Project MUSE, doi:10.1353/tks.2017.0009.

Tolkien Studies is an annual publication that can be purchased from West Virginia University Press. If your library has a subscription to Project Muse, you can get a copy that way. If you don’t have the means to get a copy of the article, please let me know.

Travels with Tolkien; or, What I Did Last Summer

27 Tuesday Oct 2015

Posted by Anna Smol in Medievalisms, Old English, Research, Tolkien

≈ 1 Comment

Tags

Bodleian Library, New York Tolkien Conference, Notion Club Papers, The Homecoming of Beorhtnoth, Weston Library

A couple of weeks ago, my department held a reception for our students, and the event included a series of brief talks called “What I Did Last Summer.” Our intention was to introduce our work to our students and also to combat the popular misconception that professors have the summer “off.”

We wanted to give students a glimpse of what their professors do when they’re not teaching. The talks — which had to be under 10 minutes — described various tasks that we performed over the summer, from collective bargaining on behalf of the faculty union, to the writing of short stories, to doing research for articles and conference papers. I offered to talk about my research and conference trips to Oxford and New York, but the time limit was a challenge!

I’ve already written in this blog about my research trip to Oxford and my conference trip to New York, but in case you’re still interested, here is another version of the story; I’ve recorded the talk that goes with my slides. I hope this presentation gives some insight into the main ideas that are fuelling my work these days.

Ahhh, Oxford!

05 Sunday Jul 2015

Posted by Anna Smol in Research, Tolkien

≈ 2 Comments

Tags

Bodleian Library, Marks of Genius exhibit, Notion Club Papers, Oxford, Peter Jackson, Weston Library

I love Oxford. I have no idea what it’s like to be a student there or a member of faculty. I don’t know what it’s like to be a resident (expensive, I’m guessing, if I’m to believe Kirstie and Phil*). But as a visiting academic / tourist, I love it. This is where I can walk through medieval streets to the Bodleian Library, where over the years I have been privileged to read Anglo-Saxon manuscripts, Elizabeth Elstob‘s notebook and books, and Tolkien’s unpublished drafts and lectures. This is where I can stroll by the house in which Tolkien wrote The Lord of the Rings or order a beer in the Eagle and Child pub, which was a regular meeting place for Tolkien and his friends. The parks, the river, the colleges — they all make for a lovely sojourn in which the daily duties of the regular academic term can be traded for the pleasures of concentrated research.

I finally returned to Oxford, after more years than I could believe, for a week in June. Unfortunately, I could not schedule my research trip to take advantage of Peter Jackson’s visit to Oxford, which I missed by a couple of weeks. Oh well. I had plenty of other things to enjoy, such as the Bodleian Library’s Marks of Genius exhibit. Here, you can see Shakespeare’s First Folio, the Magna Carta, Blake’s Songs of Innocence, Mary Shelley’s journal, fragments of Sappho’s poetry, and so much more. But of course, a main attraction for me was Tolkien’s dust-jacket design for The Hobbit, complete with marginal notes to the publisher. It’s fantastic to be able to see some of Tolkien’s original artwork, as his pictures are under extra restricted access in the archive.

Stairs to the reading room, Weston Library

The Marks of Genius exhibit, which runs to September 20, is displayed in the newly renovated Weston Library, formerly known as the New Bodleian. This building has now been partially opened up to the public, with a wide-open entrance off Broad Street leading into a spacious entrance hall, shop, and cafe. Even better, the modern manuscripts reading room, where the Tolkien manuscripts are consulted, is just around the corner and up the stairs (you need a reader’s pass to get into this part of the library though **). I’ve written about the experience of working in the old reading room; I was not disappointed by the new one, which is a large space, with full-length windows between bookshelves all down one wall, and beautifully restored elements from the original 1930s building: a stunning carved wood ceiling, massive chandeliers at either end of the room, broad tables with a mix of re-upholstered old chairs and the newly designed Bodleian chairs. I was told that even some of the wastepaper containers were refurbished wood. Another welcome addition is the Headley Tea Room for staff and readers — when hours of squinting at Tolkien’s handwriting was taking its toll, I could pop down to the Tea Room for a stiff Americano to wake me up and fuel a few more hours of manuscript transcription.

On the way to the Library

What I was mainly reading during this visit were Tolkien’s lectures and notes on Old English poetry and versification. I’m interested in Tolkien’s verse drama, The Homecoming of Beorhtnoth Beorhthelm’s Son, which he wrote very carefully in alliterative meter. It’s fascinating to follow the evolution of this play from its earliest drafts, when Tolkien was playing with the Battle of Maldon story initially by writing in iambic meter, then switching to alliterative verse. I’ve given conference presentations on this play a few times already, pointing out how scrupulous yet creative Tolkien was in his use of the meter and how he used his retelling of the story to work out some scholarly and poetic ideas of his. It’s now way past the time when I should have produced a final written version of my ideas, and I hope I’ll be able to report soon that an article will be forthcoming.

Looking towards the Radcliffe Camera (part of the Bodleian Library)

While in Oxford, I was also thinking a lot about Tolkien’s unfinished story, “The Notion Club Papers,” partly because I was looking ahead to my talk at the New York Tolkien Conference, where I was going directly from Oxford and where I was going to talk about the story. Whenever I can, I like to stay at a bed & breakfast at 100 Banbury Road, not only because it’s a nice B&B just around the corner from Tolkien’s former home on Northmoor Road, but also because Tolkien mentions that address in “The Notion Club Papers.” (I’m still puzzling out why that particular address).

This is an unusual story for Tolkien because it’s set in twentieth-century Oxford and features a group of men who meet regularly to read and discuss their work, much like the Inklings did. Even so, it features strange visions, new languages, time travel, lots of talk about dreams and myths, bits of Old English. It’s fun to stand in the same place as the characters and look at the same landmarks, such as the Radcliffe Camera. Most of my photos of Oxford were taken on sunny days, but one particular day that threatened rain seemed the perfect moment to envision the storms and “great wind” about to sweep over Oxford in “The Notion Club Papers.”

Most of the time, though, the weather was fine, and after a satisfying day at the library, it was a pleasure to take leisurely paths back to my hotel through University Parks or around Christ Church Meadow. The week, of course, went by far too quickly.

*Kirstie Allsopp and Phil Spencer are the hosts of the TV show Location, Location, Location. Yes, I am a fan of real estate shows, and especially this one, which lets me peek into British homes. [back]

**If you’re interested in doing scholarly research in the Bodleian, you should look at the Library’s information page about getting a reader’s card. To work with Tolkien’s manuscripts, you’ll also need permission from the Tolkien Estate lawyer; the Library staff can advise you on this matter. [back]

Talks on Tolkien: John D. Rateliff, the Hobbit manuscripts, and Tolkien archives

19 Thursday Mar 2015

Posted by Anna Smol in Medievalisms, Talks on Tolkien, Tolkien

≈ 5 Comments

Tags

A Brief History of The Hobbit, Bodleian Library, Dr. John D. Rateliff, Marquette Tolkien Archive, Marquette University, Oxford, Sacnoth's Scriptorium, The History of The Hobbit, Weston Library, William Fliss

One of the most exciting parts of scholarly research, in my opinion, is having the opportunity to read an original manuscript. This week’s “Talk on Tolkien” features the work of Dr. John D. Rateliff, who is an expert in Tolkien’s Hobbit manuscripts. Dr. Rateliff has studied Tolkien’s drafts and revisions of The Hobbit and these versions, along with Rateliff’s commentaries and notes, have been published in the two-volume History of The Hobbit. Recently, Dr. Rateliff announced that a shorter one-volume edition is forthcoming as well, a Brief History of the Hobbit. You can follow Dr. Rateliff’s work on his blog, Sacnoth’s Scriptorium, and on his website.

Although the video below is not a recording of a complete talk, it allows us to listen in on the question period after a presentation that Dr. Rateliff gave in 2012 at Marquette University, the home of The Hobbit manuscripts. You can hear all kinds of intriguing details in the video about Tolkien’s habits of revision, surprises in the manuscripts, different versions of The Hobbit, and more.

Dr. Rateliff talks about how Tolkien would often write on scraps of paper, including exam papers. Tolkien tells the story of how the first line of The Hobbit came to him one day as he was marking exams. Rateliff’s History of The Hobbit notes that this page does not survive, but here is Tolkien himself describing the moment in this brief clip:

I’ve found that people are sometimes surprised that all of Tolkien’s papers aren’t at Oxford where he was a professor for most of his life. But in fact, manuscripts of The Lord of the Rings, The Hobbit, Mr. Bliss, and Farmer Giles of Ham are all in the US at Marquette University (in Milwaukee, Wisconsin) in the J.R.R. Tolkien Collection How did they get there, you might well ask? Listen to the Marquette archivist, William Fliss, explain:

I’ve spent a number of happy hours in the Tolkien archives at Marquette, although my experience is a mere glimpse compared to the years that Dr. Rateliff studied there. I’ve felt quite privileged being able to work in the bright and peaceful reading room of the archive, aided by the very helpful staff and surrounded by stacks of grey boxes filled with treasures.

Marquette Archives reading room

For anyone wondering about what’s in the J.R.R.Tolkien Collection, you can check out their descriptive inventory of holdings. Aside from Tolkien’s manuscripts, the Collection is especially rich in periodical literature dealing with Tolkien. If you are interested in popular culture, the reception of Tolkien’s works, the history of fandom and zines, screen treatments and adaptations, take a look at this list of sources in the Collection’s periodical literature. I reported on a roundtable discussing various scholars’ experiences (including my own) with the archives at the Popular Culture Association last year.

The other major archive holding Tolkien materials, as might be expected, is at Oxford in the modern manuscripts collection. Here you can find some manuscript drafts of Tolkien’s work, such as The Homecoming of Beorhtnoth, as well as lectures, notebooks, translations, letters. Anyone with a chance to visit Oxford should definitely take an opportunity to tour the old and wonderful Bodleian Library, including the Duke Humphrey’s reading room (better known as the library in the Harry Potter movies).

But Tolkien’s papers are actually held in what was called the New Bodleian across the street from the old library. Scholars used to work in a fairly cramped reading room. You would check your bags at the door and after showing your reader’s pass proceed down a rather dark corridor into a long, crowded room at the end of the hall. Rows of tables seemed to be squeezed into the space between bookshelves, files, microfilm readers, and librarians’ desks. I think I remember windows, but if I recall correctly, they were rather high up on the wall and did not provide a view. But who cared when you were sitting there and handed a Tolkien manuscript to read! I spent many an hour in that room squinting at Tolkien’s scrawl and then typing at a furious pace to transcribe as much of what I was reading as possible before closing time.

That library has undergone an extensive renovation and has just recently opened to scholars and now to the public, renamed as the Weston Library. From the look of some videos and news reports the rooms are light and spacious — and apparently you can even buy a cup of coffee there! I can’t wait to go back — I hope very soon. The following video presents the mind-boggling massive extent of the Bodleian’s operations and includes a look at the new Weston building:

Anyone have any experiences or memories of archival work they’d like to share? Has anyone visited these or any other archives holding Tolkien materials?