Tag Archives: CBCA

Australia: Nutcote – gumnut babies, banksia men & the prodigious May Gibbs

gumnut babies galore

gumnut babies galore

As a child, I spent many hours with my friends having adventures in the bush behind our houses in Sydney’s north. I was fascinated by the perfectly formed gumnuts that were scattered amongst the leaf litter. Little wonder May Gibbs found them fascinating too. They were perfect for tiny fingers to collect and perfect for the fingers of an illustrator and writer who would, in the early part of the 20th century, create the fantasy lands of Snugglepot and Cuddlepie, and Bib and Bub.

a familiar collection for so many

a familiar collection for so many

My Day with May began with a group of like-minded writers, illustrators, librarians and teachers, from the Children’s Book Council (CBCA). We met in the gift shop that was once the garage of May’s home, Nutcote, on Neutral Bay’s foreshore, overlooking the magnificence of Sydney Harbour.

May's home from 1925 until her death in 1969 - designed by architect BJ Waterhouse

May’s home from 1925 until her death in 1969 – designed by architect BJ Waterhouse

CBCA Nutcoters

CBCA Nutcoters

May was born in England in 1877, and when she was four, she sailed with her family to Australia. May grew up in Perth where she attended Amy Best’s School for Young Ladies. It was here that she came under the spell of our magical landscape and bush. Her first illustration was published when she was 12 and May went on to become Australia’s first resident professional woman cartoonist and caricaturist. She also promoted the cause of Women’s Suffrage through feminist cartoons. When May was drawing her Bib and Bub comic strips (drawing one strip a week for over 40 years) she was paid 5 guineas a strip while Jimmy Bancks was getting 40 pounds for Ginger Meggs!

banksia trees; the larger one on the right is 150 years old

banksia trees in May’s garden; the larger one on the right is 150 years old

Who wasn’t terrified of the villainous Big Bad Banksia Men! I know I was every time I brushed by one of the whiskery bushes jiggling their prickly, shaggy banksias with their poddy, slitty eyes that appeared to follow you. May Gibbs had a brilliant mind and a wild imagination. She hooked the kids into her stories and made them squirm and delight, all at the same time.

such a bad, bad banksia man!

such a bad, bad banksia man!

May’s house is an exploration of enchantment. Each room was designed to capture the harbour view and her studio at the rear of the house is light-filled and filled with her loves: her original travelling easel, typewriter, portraits of her parents and of course the tools of an artist.

There are other artefacts such as the original ice chest (the ice was shipped from Canada), and in the tiny kitchen – the Early Kooka, Mrs Beeton’s Cookery Book and boxes of Reckitts Instant Starch and Velvet Soap. May was one of our earliest entrepreneurs – she designed tea towels, spoons, slippers, calendars, vases and even fabrics that were sold in London – all featuring her Australian flora and fauna designs. Several of these items are displayed in a glass cabinet. May was a lover of picnics and went on many adventures with her husband. Her beloved Scottie dogs travelled with them in a wicker basket attached to the side of her Dodge.

Next year we celebrate the centenary of Snugglepot and Cuddlepie. If you get the chance, take a visit to iconic Nutcote @ 5 Wallaringa Ave, Neutral Bay (Sydney) and walk in the steps of the gifted and amazingly diverse illustrator, artist and children’s book author – Celia May Gibbs.

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Australia: art through the eyes of children

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an artful gallery

The members of the Northern Sydney sub-branch of the Children’s Book Council (CBCA) were in for a treat when they gathered on Saturday morning (19h March) in the imposing foyer of the Art Gallery of NSW.

Approaching its glowing sandstone exterior flanked by mock columns and scribed by the names of the greats of Western art, such as: Giotto, Rembrandt, Raphael and Leonardo da Vinci, and framed by the parklands of the Domain and Woolloomooloo Bay, this edifice to art commands your full attention.

And it was full attention and imagination needed when we started our Storytelling through Art tour with our vice-president and multi-hatted, multi-talented, Lindy Batchelor. Lindy is a volunteer children’s guide at the gallery, and as writers, librarians and illustrators, we were to become the children on the tour.

a sobering truth

a sobering truth

We started in the oldest wing delighting in the colours and images. At John Glover’s 1838 Natives on the Ouse River, Van Diemen’s Land, we looked at backgrounds, middle grounds and foregrounds; we reenacted the action – fishing, swimming and cooking. Then Lindy showed us a map and told us that many in the painting were the last Tasmanian aboriginals before they were rounded up and taken to Flinders Island.

so much to tell

so much to tell

As we gathered at our next painting, David Davies’ From a Distant Land (1889), Lindy handed out tokens: a letter, candle, a woman’s photo, shoe polish. We each had to tell the story of the painting. As the postman rode away, what was happening in the hut? ‘Look into the shadows; look at his shoes,’ Lindy urged. Relating to the kids on her regular tours, she said it was great, ‘because it teaches the kids to interact; to trust their eyes; to tell their own story.’

Lindy's bag of tricks that she carries

Lindy’s bag of interactive tricks

After looking around the 3-D of sculptures, and discovering unimagined treasures that the sculptor had hidden, we came to another interactive part of our children’s tour. We stood in front of Thomas Cooper Gotch’s 1891 My Crown and Sceptre. Lindy knows exactly how to capture the imagination of children as she seats one of our group, Alicia, on a seat in front of the painting. It is the story of Phyllis (Gotch’s daughter) celebrating the Queen of the May. As we decided what Alicia needed, Lindy dressed her until she transformed into Phyllis. Alicia declared, ‘I feel royal and want to be painted!’

Alicia or Phyllis?

Alicia or Phyllis?

We reenacted Sir Frederic Leighton’s white marble statue, An Athlete Wrestling with a Python, and listened to the sounds in paintings: ‘What can you hear?’ Lindy kept urging us on. We looked at shadows cast by reimagined eucalyptus poles and pondered over the spiritual metaphor of such.

At Grace Cossington Smith’s 1928, The curve of the bridge, Lindy brought out a handful of brushes for us to contemplate how the artist would have used them.

a brush with the bridge

a brush with the bridge

We looked at the traditional carvings and paintings on the Pukumani grave posts from the Tiwi Islands, and at John Olsen’s 1963 Five Bells, Lindy urged us to ‘take your line for a walk and see where it takes you,’ before she produced a swatch of blue colours for us to try and connect with the painting.

the Pukumani ceremony is unique to Tiwi - a final goodbye

the Pukumani ceremony is unique to Tiwi – a final goodbye

A final walk through the John Kaldor contemporary gallery found us wondering over reimaginings: the playful and dynamic ways modern artists have used colour. Lindy gave us each a coloured pipe cleaner and we had to twist and weave it to create one of the 87 tin sculptures in Robert Klippel’s display. ‘It makes you look more closely,’ says Lindy.

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wire imaginings

At the end of our Storytelling through Art tour we were thinking how lucky children are today who can have this much interaction and fun with so many treasures in such a magnificent building and with such an expert. If you would like to see what’s on offer for your child or school group, see: http://www.artgallery.nsw.gov.au/discover-art/gallery-kids/

grown-up kids of the CBCA - Art through Storytelling - what a happy group

grown-up kids of the CBCA – Art through Storytelling – what a happy group