Collecting for Future Generations

Despite my lifelong love of illustrated books, collecting original illustrations was never part of my plan. My collecting journey began almost by accident, with an artwork from a little-known, self-published book. I discovered ‘The Gnomes of Cobargo’ by Naomi Lewis during a family holiday on the South Coast.

In a tiny Cobargo art gallery—sadly destroyed in the 2019 Black Summer bushfires—I came across a small artwork from a book both written and illustrated by local artist Naomi Lewis. The book sat on the gallery counter, an unassuming softcover filled with quirky characters and country charm. To my surprise, the artist herself was behind the counter, and we had a fascinating chat about her inspiration for the book.

Painted on a wooden board, The Washing Day depicts a mother-gnome, her baby in tow, washing up the way our grandmothers did. The work resonated with me not only as a mother of a messy toddler but also because it took me back to when I was ten or eleven, helping my grandmother fill a similar wash tub with water drawn from our well.

It wasn’t just The Washing Day artwork I bought that day—it was the nostalgia it evoked, stirring memories of carefree summer days and my bond with my grandparents. On a return visit, I bought 12 more illustrations from the same book, which became the foundation of a collection now expanded to include works by Julie Vivas, Ann James, Stephen Michael King, Robert Ingpen, Shaun Tan, Anne Spudvilas, Anna Pignataro and other Australian and Russian artists whose illustrations I grew up with.

This journey of collecting has often felt like a grand adventure, especially when it led me to the fascinating tale of Harry Reade, an Australian eccentric, whose illustrations for Gauf’s fairy tales “Little Mouk” and “Little Longnose” were published in (of all places) Soviet Russia in 1966. The complete set of these illustrations was initially discarded by a Russian publishing house during the tumultuous early years of Perestroika, ending up on the streets of St. Petersburg in a rubbish dumpster. Miraculously, a discerning Russian antique dealer recognised their artistic merit and salvaged them. After a long and winding journey, these illustrations travelled from Russia to Australia, where they now hold a cherished place in my collection.

My collection isn’t displayed at home; instead, the works are stored in archival sleeves, preserving them to hopefully endure beyond my lifetime. Then why collect at all, I hear you ask? For me, collecting is about finding pieces that spark an emotional response—artworks that make me feel something, teach me something new, reveal a new story or fresh insights into familiar stories. Each piece is a tribute to the skill and talent of the illustrators and authors behind them. I’m inspired by the thought that, when displayed, these artworks might evoke the same response in others, enriching the experience for many beyond my family and friends.

Though my collection has fewer than a hundred works, I hope to one day share pieces with the NCACL’s extensive archive. In addition to artwork, the NCACL holds manuscripts, drafts, sketches, and correspondence from celebrated authors and illustrators, offering unique insights into the creative process. Accessible to researchers, academics, artists, and students, it’s an invaluable resource for anyone interested in children’s literature, illustration, or publishing. I hope my collection might one day inspire and enrich others in the same way, sharing the magic of these works for generations to come.

One of my most rewarding experiences has been loaning works from my collection, including Anne Spudvilas’ collage for ‘Mao’s Last Dancer,’ featured in the Museum of Brisbane’s exhibition dedicated to Li Cunxin, the legendary dancer and then-Artistic Director of Queensland Ballet. Having defected to the U.S. as a young dancer, Li has no photos from his childhood. Museum curators asked for my Spudvilas collage showing Li as a child sharing a meal with his family, bringing part of his story to life for the exhibition visitors.

Ultimately, my collection is a way to preserve the charm and magic of childhood for future generations. Whether it is displayed or shared through exhibitions, museums or institutions like the NCACL, each piece is a testament to the timeless stories and artistry that shape our imaginations. By preserving these works I feel I’m helping to keep these stories alive and ready to inspire others and those who come after us.

 

Natalia has a deep passion for picture books. She is currently a judge of the prestigious Children’s Book Council of Australia Picture Book and New Illustrator Categories for 2024-2025. She shares her extensive knowledge of children’s books through her reviews and in-depth analyses of children’s books on her blog, Kids Book Explorer. Her deep passion for picture books led her to form her own personal collection of over 1000 titles and more than 80 original illustrations from renowned international artists. In her role as Director of Arts Investment Analysis at Creative Australia Natalia helps to advocate for and administer the Australian Federal Government’s funding of the arts sector.

See also:
Books by Naomi C. Lewis (Author of Classic Fairy Tales to Read Aloud)
Shaun Tan Gallery: Never Be Late for a Parade – NCACL
Shaun Tan: Virtual Exhibition – NCACL
NCACL’s holdings of artwork are documented in NCACL Artwork Frameworks – NCACL
To make an appointment to view artwork please contact us at ncacl@canberra.edu.au

Posted by: NCACL | Published: 01 Jan 2025