For example, in Let There Be Light (1991), the Biblical story of creation, she uses swirling patterns to represent the creation process: small vague swirls in the beginning that become more distinct and expansive as God creates more and more until finally plants, fish, birds, and animals representing the infinite variety of life sweep across whole pages. Still resenting discipline, she found courses in perspective and life drawing very difficult and turned instead to design.Ī strong sense of design is apparent in her books. At fifteen she left school and entered Farnham School of Art.
Having been pampered in India, Baynes had a difficult time adjusting to the impersonal discipline of the English school. Baynes and her older sister were placed in a convent school while her mother recuperated. Her mother became ill when she was five, and the family returned to England while her father stayed in India. Her illustrations have received numerous awards, including the Kate Greenaway Medal in 1968 for A Dictionary of Chivalry by Grant Uden.īorn in England, Pauline Baynes went to India with her family when she was a few months old. She went on to illustrate the other six books in the “Chronicles of Narnia” series and Tolkien’s Adventures of Tom Bombadil (1962). He particularly liked her dragon and decided that she would be perfect to render the variety of creatures in The Lion, the Witch and the Wardrobe (1950). Her drawings for her first book, Tolkien’s Parmer Giles of Ham (1949) caught C.S. Using simple yet expressive line drawings, Pauline Baynes began her career illustrating works by two great fantasy writers: J. Lucius Books welcomes direct contact with our customers.British illustrator and author, 1922-2008. Further details and images for any of the items listed are available on request. This tale of hobgoblins and dragons is his first work of fiction. William Croft Dickinson was a leading scholar of Scottish history who also wrote children's fantasy novels and ghost stories. Complete with the good only original illustrated dustwrapper which has loss to the spine tips, tears and chips with associated creasing to the edges, the front flap presumable has been repaired with multiple pieces of tape at the fold. The contents, with a contemporary ownership inscription to the front free endpaper, are otherwise clean and bright throughout. A very good copy, the binding square and firm, the extremities of the cloth a touch rubbed, the top corners with very minor bumping. Illustrated with a colour frontispiece and black and white in-text drawings throughout by John Morton-Sale. Original blue cloth with titles in black to the spine and a motif in black to the upper board, in dustwrapper.
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