C f tunnicliffe

24

Second Nature: The Art of Charles F. Tunnicliffe ra

Charles Tunnicliffe Prints: A Catalogue Raisonné

on truth to nature was detrimental to art as it reduced the maker to the role of an imitator: What is truth anyhow? When you are painting a picture the only truth that we know is aesthetic truth and that is to be true to one’s aesthetic feelings, that’s all. If you come near the bird in anatomical detail, that’s just as well.101 An ‘aesthetic composition’ based on the ‘impression of a flock of birds’ would not result in a presentation with which a ‘scientific ornithologist would agree.... Yet it might be true to the artist’s eye – that is what they look like at the moment the artist was impressed by them.’102 It is significant that these remarks were not made in an art-historical journal but addressed to an audience of wildlife enthusiasts who would be less inclined to judge the merit of a bird artist’s work on aesthetic grounds. The persistence of this memetic approach

25

to Tunnicliffe’s work is reflected in True to Nature, the title of a BBC Wales television documentary that was broadcast in the autumn of 1981, more than two-and-a-half years after Tunnicliffe’s death.

The nature of Tunnicliffe’s work, as well as the question of its intended audience, makes it difficult to ‘judge’ it in the way that he, apparently, wanted it to be considered: ‘purely by its aesthetic effect and not by its similarity to nature’. For decades, Tunnicliffe’s work had appealed primarily to bird fanciers and wildlife enthusiasts; and even though he numbered among them, Tunnicliffe, a Royal College of Art graduate, resented being pigeonholed to such a degree that he could not help but take issue with the views of his admirers: ‘I have shocked quite a lot of people by saying “To hell with nature!” Nature is made to be used, not to be dictator, as far as the dyed-in-the-wool artist is concerned.’103

Fig. 10 Sitting Hare, 1938 Oil on unprimed linen, 590 x 800 mm (23¼ x 31½ in.)

Macclesfield Museums

Tunnicliffe challenged the distinction as soon as it was made: ‘Whatever your approach, you will find that your naturalistic treatment can have a very decorative quality, and that a decorative treatment can create an illusion of atmosphere though none has been consciously attempted.’95 This squaring of the decorative and the representational is as central to Tunnicliffe’s sense of creativity as it is to his understanding of the nature of his work as a commodity.

Although his ‘bird paintings’ were at times deemed ‘unusual’ for being ‘both accurate and decorative’,96 the chief criterion with which critics judged Tunnicliffe’s prints was fidelity. ‘Most of the modern wood-cuts of birds ... portray what can only be termed as monstrosities’, a reviewer of A Book of Birds opined in 1937, ‘and one can scarcely imagine any genuine bird-lover looking at them without ... wishing that we might have a Hitler to order their abolition.’ By comparison, Tunnicliffe’s prints were ‘really like birds, not only in detail but in their characteristic and natural poses’.97 The critique appeared in the magazine British Birds and was aimed at an audience to which Tunnicliffe increasingly appealed, even as he continued to produce nature-themed images for advertising and book illustration. While a specialised audience was able to discern the accuracy with which Tunnicliffe rendered the natural world, critics,

historians and curators largely neglected to engage with his work as art.

In a review of My Country Book that aired on 22 May 1943 on the BBC Forces Programme as part of the series What I’m Reading Now, British countryside enthusiast S. P. B. Mais stated that Tunnicliffe ‘had no pseudo romanticism to overcome’. Never having been ‘off the farm’ during the ‘first 19 years of his life’, Tunnicliffe had ‘lived as close to the animals as Walt Whitman always wished that he could’. As a result, Tunnicliffe was ‘able to convey their forms and their spirit more faithfully than any other artist of [his] time’. The dismissal of Whitman as a poet of nature aside – a response, perhaps, to a perceived Americanisation of the BBC at wartime – the review suggests that what made Tunnicliffe’s work superior was his ‘scientific’ approach to nature.98 Among art historians, this sentiment was echoed by Hamilton, who, in his assessment of Tunnicliffe’s wood engravings, argued that their maker had the ‘clear, dispassionate eye of a scientific draughtsman’.99 Late in his career, Tunnicliffe came closest to a defence of his work, rejecting the very standard by which it was generally judged. A ‘picture is a purely man-made thing and the result of man’s mentality’, he argued, and to ‘let nature dictate is impure’.100 According to Tunnicliffe, an insistence

Fig. 11 Fox, December 1964 Pencil, watercolour and white body colour on paper, 533 x 760 mm (21 x 30 in.)

Oriel Ynys Môn, Anglesey

24

Second Nature: The Art of Charles F. Tunnicliffe ra

Charles Tunnicliffe Prints: A Catalogue Raisonné

on truth to nature was detrimental to art as it reduced the maker to the role of an imitator: What is truth anyhow? When you are painting a picture the only truth that we know is aesthetic truth and that is to be true to one’s aesthetic feelings, that’s all. If you come near the bird in anatomical detail, that’s just as well.101 An ‘aesthetic composition’ based on the ‘impression of a flock of birds’ would not result in a presentation with which a ‘scientific ornithologist would agree.... Yet it might be true to the artist’s eye – that is what they look like at the moment the artist was impressed by them.’102 It is significant that these remarks were not made in an art-historical journal but addressed to an audience of wildlife enthusiasts who would be less inclined to judge the merit of a bird artist’s work on aesthetic grounds. The persistence of this memetic approach

25

to Tunnicliffe’s work is reflected in True to Nature, the title of a BBC Wales television documentary that was broadcast in the autumn of 1981, more than two-and-a-half years after Tunnicliffe’s death.

The nature of Tunnicliffe’s work, as well as the question of its intended audience, makes it difficult to ‘judge’ it in the way that he, apparently, wanted it to be considered: ‘purely by its aesthetic effect and not by its similarity to nature’. For decades, Tunnicliffe’s work had appealed primarily to bird fanciers and wildlife enthusiasts; and even though he numbered among them, Tunnicliffe, a Royal College of Art graduate, resented being pigeonholed to such a degree that he could not help but take issue with the views of his admirers: ‘I have shocked quite a lot of people by saying “To hell with nature!” Nature is made to be used, not to be dictator, as far as the dyed-in-the-wool artist is concerned.’103

Fig. 10 Sitting Hare, 1938 Oil on unprimed linen, 590 x 800 mm (23¼ x 31½ in.)

Macclesfield Museums

Tunnicliffe challenged the distinction as soon as it was made: ‘Whatever your approach, you will find that your naturalistic treatment can have a very decorative quality, and that a decorative treatment can create an illusion of atmosphere though none has been consciously attempted.’95 This squaring of the decorative and the representational is as central to Tunnicliffe’s sense of creativity as it is to his understanding of the nature of his work as a commodity.

Although his ‘bird paintings’ were at times deemed ‘unusual’ for being ‘both accurate and decorative’,96 the chief criterion with which critics judged Tunnicliffe’s prints was fidelity. ‘Most of the modern wood-cuts of birds ... portray what can only be termed as monstrosities’, a reviewer of A Book of Birds opined in 1937, ‘and one can scarcely imagine any genuine bird-lover looking at them without ... wishing that we might have a Hitler to order their abolition.’ By comparison, Tunnicliffe’s prints were ‘really like birds, not only in detail but in their characteristic and natural poses’.97 The critique appeared in the magazine British Birds and was aimed at an audience to which Tunnicliffe increasingly appealed, even as he continued to produce nature-themed images for advertising and book illustration. While a specialised audience was able to discern the accuracy with which Tunnicliffe rendered the natural world, critics,

historians and curators largely neglected to engage with his work as art.

In a review of My Country Book that aired on 22 May 1943 on the BBC Forces Programme as part of the series What I’m Reading Now, British countryside enthusiast S. P. B. Mais stated that Tunnicliffe ‘had no pseudo romanticism to overcome’. Never having been ‘off the farm’ during the ‘first 19 years of his life’, Tunnicliffe had ‘lived as close to the animals as Walt Whitman always wished that he could’. As a result, Tunnicliffe was ‘able to convey their forms and their spirit more faithfully than any other artist of [his] time’. The dismissal of Whitman as a poet of nature aside – a response, perhaps, to a perceived Americanisation of the BBC at wartime – the review suggests that what made Tunnicliffe’s work superior was his ‘scientific’ approach to nature.98 Among art historians, this sentiment was echoed by Hamilton, who, in his assessment of Tunnicliffe’s wood engravings, argued that their maker had the ‘clear, dispassionate eye of a scientific draughtsman’.99 Late in his career, Tunnicliffe came closest to a defence of his work, rejecting the very standard by which it was generally judged. A ‘picture is a purely man-made thing and the result of man’s mentality’, he argued, and to ‘let nature dictate is impure’.100 According to Tunnicliffe, an insistence

Fig. 11 Fox, December 1964 Pencil, watercolour and white body colour on paper, 533 x 760 mm (21 x 30 in.)

Oriel Ynys Môn, Anglesey

robert meyrick

Catalogue Raisonné: Introduction

Detail of cat. 60

Charles Tunnicliffe ra is chiefly remembered as Britain’s foremost twentieth-century bird painter. All six watercolours he exhibited annually at Royal Academy of Arts Summer Exhibitions sold on the opening day. Yet his professional career, which spanned six decades, is considerably more varied. From the early 1930s onwards, Tunnicliffe was much in demand for book illustration and commercial work. He regularly undertook commissions for publishers including G. P. Putnam, Faber and Faber and Victor Gollancz, and contributed to advertising campaigns for such companies as Bob Martin, ICI, Bibby’s and Shell, as well as for products ranging from Mackeson Stout to Harris Tweed. Tunnicliffe’s designs for tins of Frears biscuits, calendars for Boots the Chemist and numerous covers for Birds, the magazine of the Royal Society for the Protection of Birds, are remembered with affection. His series of collectible cards for Brooke Bond Tea (British Wildlife, Bird Portraits, Wild Birds in Britain, Wild Flowers, Tropical Birds, Asian Wildlife and African Wildlife) were swapped in school playgrounds across Britain and reproduced as wall charts for display in schoolrooms.

Children also learned about the English countryside and how to identify British flora and fauna from his colourful books for publishers Ladybird (such as The Farm and What to Look for in Summer) and Puffin (Birds of the Estuary).

While his high-profile commercial work made Charles Tunnicliffe a household name, it eclipsed his earlier endeavours as an etcher and wood engraver for which he first gained recognition and which also became an important part of his work as a book illustrator. As a result, his prints have never been documented. Nor has there been a critical appraisal of this important aspect of his career.

This catalogue raisonné seeks to redress that oversight.

Much of the research involved the examination of prints in public and private collections. Macclesfield Museums, Oriel Ynys Môn (Anglesey), the National Library of Wales, the Royal Academy of Arts and the British Museum, among

34

Charles Tunnicliffe Prints: A Catalogue Raisonné

others, provided excellent resources. Commercial galleries and dealers such as Gordon Cooke of the Fine Art Society, Elizabeth Harvey-Lee and Martin Heaps provided access to their stock and image archives.

In addition, the documentation, evaluation and interpretation of prints involved scouring auction records, exhibition and dealer catalogues, and museum databases, as well as Tunnicliffe’s own writings, including his published books and articles, diaries, personal notes and business correspondences. In the absence of consistent records in Tunnicliffe’s own hand, Fine Prints of the Year, published between 1924 and 1938, provided an excellent starting point to establish a chronology of prints. The exhibition records of the Royal Academy of Arts, Royal Society of PainterPrintmakers, Society of Wood Engravers, Manchester Academy of Fine Arts, and the Autumn Exhibition at the Walker Art Gallery, Liverpool, helped fine-tune the chronology. The company ledger of the artist’s publisher H. C. Dickins, Christie’s Valuation for Probate and Tunnicliffe’s own Record of Sales housed at Macclesfield Museums offered further clues when cross-referenced against diary entries.

Following Tunnicliffe’s death in 1979, his studio was divided among nine legatees without being catalogued or documented. Since then, a generation of his nephews and nieces has passed away and the collection has been further broken up by descent or sale. However, much remained to be gleaned from visits to family members, whose private collections include artworks, copper plates and boxwood blocks. Remarkably, almost all of Tunnicliffe’s plates and blocks appear to have survived. In several instances, we resorted to borrowing plates and blocks of rare images to obtain an impression to reproduce in this publication. The copper plates were expertly printed by Andrew Baldwin, Tutor in Printmaking and Senior Technician at the School of Art, Aberystwyth University.

First and foremost, this catalogue raisonné has benefited from the generous support and good counsel of Ken Broughton, Secretary and a Founder Member of The Charles Tunnicliffe Society and Editor of its journal Reflections. Since 2005, he has worked tirelessly to promote greater awareness of the life and work of the artist. He has given freely of his time and shared his extensive knowledge as well as his personal archive of material related to Tunnicliffe’s life and career.

Any catalogue is only as good as the resources available at a point in time. Some prints recorded in exhibition catalogues have proved impossible to trace. They are documented here but not illustrated. Nonetheless, this catalogue raisonné aims to be a comprehensive record of Charles Tunnicliffe’s prints.

Introduction

Titles The titles given in this catalogue are those assigned by the artist when the prints were first published. Although Tunnicliffe was, on the whole, consistent in titling his work, his use of alternative titles or variants has been noted. He was rather more erratic when it came to inscribing titles beneath the plate mark or in the margins. The paucity of scholarship on Tunnicliffe prints, and the absence of even the most basic checklist by the artist, meant that editions not inscribed with a title have over the years been posthumously assigned descriptive titles. Over time this has led to confusion. For example, The Acorn Hunters (cat. 85) has variously been described and exhibited as ‘Pigs Foraging’ or ‘Pigs Rootling’.

Titles for wood engravings intended as book illustrations or for commercial use are, whenever possible (as in the case of Tarka the Otter, The Lone Swallows, The Old Stag and A Book of Birds), derived from inscriptions that appear beneath the image as reproduced in the book. Titles for illustrations for The Star-born and The Peregrine’s Saga, which have not been so identified in these books, have been gleaned from the artist’s inscriptions on the back of the boxwood blocks, from original wrapping papers, or from the signed, titled and sometimes editioned proofs that Tunnicliffe issued from his studio. Close readings of The Star-born and The Peregrine’s Saga were necessary to arrive at the few remaining titles, including titles for illustrations that were engraved but not published.

Dates As Tunnicliffe’s records are incomplete, it is impossible to establish an accurate and consistent chronology of the prints solely based on their date of execution. While most prints in this catalogue are dated by their year of completion and are sometimes dated as such on the plate, others appear by their date of publication. Tunnicliffe never dated impressions in pencil. The etching Samson and the Lion (cat. 15), for instance, was executed while he was a student at the Royal College of Art around 1925, but it was declared as newly published in Fine Prints of the Year 1931. The ‘Reference’ field of each catalogue entry is used to record when the print was listed as newly published in Fine Prints of the Year or when it makes its first appearance in Tunnicliffe’s Record of Sales.

In the case of those few prints where it has not been possible to determine a date of production, publication or exhibition, they have been grouped where they fit thematically or stylistically, as is the case with Tunnicliffe’s four portraits of Winifred Wonnacott (cats 7–10).

Signatures and Monograms Tunnicliffe’s first etching bears the monogram he devised

using his initials CT (cat. 1), but most of his early plates bear no etched inscription. Occasionally, they are etched C. F. Tunnicliffe along the lower edge. Winifred at Her Needlework (cat. 9) appears to be the first etching in which he employed the CFT monogram that incorporated all three of his initials. He was inconsistent, however, in its application on the copper plate or boxwood block. None of the wood engravings intended as book illustrations has been signed or monogrammed in the block.

Although Tunnicliffe more commonly signed his prints C. F. Tunnicliffe below the plate mark in pencil, some impressions were signed in brown or black ink.

Measurements Measurements refer to the plate size, not to the size of the image or paper. Dimensions are in millimetres and height precedes width. Imperial measurements are rounded up to the nearest quarter inch. Etchings are printed on dampened paper of varying degrees of weight and absorbency.

Measurements of the same print may vary slightly as a result of contraction during the drying process. Wood engravings rarely exhibit such a variance between impressions from the same block.

Editions, States and Artist Proofs Apart from those etchings printed professionally by Henry E. Carling (Printer and Publisher) on behalf of H. C. Dickins between 1926 and 1928, Tunnicliffe printed his own plates and woodblocks. Printing editions is time consuming, labour-intensive and expensive. It made no sense for Tunnicliffe to print a full edition until the market was tested and the first impressions had sold. The artist was more gainfully employed working on new copper plates.

As Tunnicliffe’s Record of Sales attests, plates were printed in small batches of between five and twenty impressions.

The schedule of printing for The Thief (cat. 64), set down between December 1928 and May 1929, provides evidence of the considerable demand for Tunnicliffe prints prior to the Wall Street Crash that led to the demise of the etchings market.

Tunnicliffe never recorded the number of states through which an etched plate progressed. Very occasionally, he marked impressions with details of the state. However, no documentation exists regarding the number of proofs that he pulled of each state. Unlike many of his peers, he did not aim to appeal to connoisseurs by annotating trial states.

While Tunnicliffe declared an edition size for each print, there are many instances where the number of impressions eventually pulled is at variance with the declared edition size. Sometimes fewer than ten were printed from an edition of 75 declared proofs. This was especially the case when

35

it came to proofing woodblocks originally intended as book illustrations. If the edition size is stated here as ‘not recorded’ it means that probably anything from five to ten impressions were taken.

In the 1970s, when he was widowed and cared for by his youngest sister, Dorothy Downes, Tunnicliffe revisited his old woodblocks for A Book of Birds and other publications and proofed them to exhibit at the Tegfryn Gallery in Menai Bridge on Anglesey. Too weak to set up the printing press or tinker with the necessary ‘make ready’, he taught Downes to print using a spoon by burnishing the Japanese paper on the inked block. Some of the book-illustration wood engravings were printed in significant quantities at Shorelands. After her brother’s death, Downes is believed to have continued printing the woodblocks. She is also known to have inscribed unsigned proofs C. F. Tunnicliffe in pencil or biro in imitation of her brother’s signature.

Copper plates published by Dickins were cancelled when the edition was exhausted. For instance, the plate for The Colt (cat. 47) was scored with horizontal, vertical and diagonal lines that cross at the centre. In several cases, Tunnicliffe recycled the plate by working its reverse side: Tarka: Otter and Trout (cat. 106), for example, was drawn on the back of the plate for Kemps Croft Farm, Sutton (cat. 57) and The Old Quarry Road (cat. 33) was etched on the back of the plate for The Stuck Pig (cat. 26).

All intaglio prints are from copper plates unless otherwise stated. Most of Tunnicliffe’s copper plates, including those cancelled, as well as all boxwood blocks intended as fine art prints or as book illustrations, remained in the artist’s studio until his death. They were subsequently divided among beneficiaries of his Estate and have remained in the family or been sold.

H. & G. Gerrish together with Larkhall Fine Art published two Memorial Editions of Tunnicliffe’s large wood engravings in 2007 and 2009. Nicolas McDowall of the Old Stile Press, Monmouthshire, printed an edition of 112 from the original blocks on Zerkall paper.

Charles Tunnicliffe and H. C. Dickins Tunnicliffe’s relationship with Dickins was short-lived but at first lucrative. Tunnicliffe earned enough from the contract to get onto the property ladder when he returned from London to Cheshire, and he bought a house in Macclesfield for his widowed mother when she gave up the family farm in 1927. He was first introduced to Dickins

by Malcolm Salaman in July 1926. As Dickins explained in the company ledger: I purchased above five plates for the sum of £100, the only stipulations being that Tunnicliffe undertook to sign 75

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Charles Tunnicliffe Prints: A Catalogue Raisonné

Prints

47 The Colt, 1927 Etching in black on F. J. Head laid paper 224 x 251 mm (9 x 10 in.) inscribed: [plate] no edition size: 75 publisher: H. C. Dickins, London, 1927 (6gns) states: not recorded reference: Fine Prints of the Year 1927

Tunnicliffe had a great affection for horses, from the plaited and braided stallions that were paraded by their grooms along country lanes (cat. 119) to the mare about to be slaughtered and carted to the knacker’s yard (cat. 50).

He attended horse fairs on Water’s Green in Macclesfield (cat. 100) and was himself an experienced handler.

Here a trainer tries to rein in a rearing colt – an unneutered male horse under four years old – and have it respond to basic commands.

It is being introduced to the collar as a necessary part of its training before it can be hitched to a cart, float or plough.

Tunnicliffe also made a wood engraving depicting a rearing colt as it fights against its bridle (cat. 48).

48 The Colt, c. 1927 Wood engraving in black on Japan paper 105 x 104 mm (4 x 4 in.) inscribed: [block] no edition size: not recorded publisher: unpublished states: i–v collection: mm (i–v)

See The Colt (etching, cat. 47).

79

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Charles Tunnicliffe Prints: A Catalogue Raisonné

Prints

81

49 The Hovel Doorway, 1927 Etching in black on J. Whatman wove paper 194 x 253 mm (7¾ x 10 in.) inscribed: [plate] no edition size: 75 publisher: H. C. Dickins, London, 1927 (5gns) states: not recorded reference: Fine Prints of the Year 1927 collection: mm

This print shows the farrier at Gurnett, a hamlet adjoining Sutton Lane Ends. As long as horses were used on the fields, for carting and pulling the float, there was always a need for the blacksmith’s services.

On 15 December 1920, for example, Tunnicliffe noted in his diary that he took ‘the horse to the smithy for studs’. It would not be long before automotive horsepower reached rural Cheshire and village blacksmiths such these were looking to diversify, as demand for the farrier’s skilled work gradually decreased.

50 Old Bones, 1928 Etching in black on F. J. Head laid paper 226 x 177 mm (9 x 7 in.) inscribed: [plate] no edition size: 75, though some impressions inscribed /50 publisher: The artist, 1933 states: not recorded reproduced and reference: Fine Prints of the Year 1933 (pl. 49) exhibited: re 1933 (no. 97, 3gns); mafa 1933 (no. 16, 3gns); wal 1934 (no. 782, 3gns)

For Tunnicliffe there was no place for sentimentality on a farm. Etchings such as To the Slaughter (cat. 24) and The Stuck Pig (cat. 26) deal with the reality of life and death.

Here, a farmer consults the ‘knacker’ who has arrived with his cart to slaughter and dispose of the body of an old farm horse that is no longer fit to work.

It will continue to serve in death. At the knacker’s yard, many useful by-products will be derived from its carcass: tallow, bone-meal fertiliser, horsehair, as well as glue for cabinetmakers and the book-binding trade. The title ‘Old Bones’ was derived from the colloquialism ‘to make old bones’, meaning to reach an advanced age.

51 The Cattle Fair, 1928 Etching in brown-black on off-white and grey laid papers 206 x 276 mm (8 x 11 in.) inscribed: [plate] no edition size: 75 publisher: H. C. Dickins, London, 1928 (6gns) states: not recorded reference: Fine Prints of the Year 1928 collection: mm

In 1927 Margaret Tunnicliffe gave up the farm at Lane Ends for a house on Rainow Road in Macclesfield that her son had bought for her with income derived from the sale of his etchings. The following year, Tunnicliffe moved from London back to Macclesfield where he bought a house on Nicholson Avenue not far from his mother’s.

Writing in My Country Book Tunnicliffe recalled that, being no longer immersed in farming, he soon found himself ‘drawing and painting bits of Macclesfield town’. To his surprise, he was as interested in ‘the architecture of the houses and the church’ as in ‘the farmers and cattle [that] came to town on fair day’.

The weekly cattle market as well as its celebrated horse fairs took place on Water’s Green, an open space between the railway station and the old town on the hill over which towers St Michael’s Church.

Tunnicliffe had known Water’s Green since childhood. He found that bulls ‘were most easily drawn at the local cattle auction’ when they were tethered. There, he was ‘not limited to just one bull in a field, but had a whole line from which to chose’.

Macclesfield Museums holds Tunnicliffe’s 1929 oil painting The Cattle Market at Water’s Green (canvas, 553 x 762 mm). His watercolour of the same subject is reproduced in My Country Book. There also survives a pencil and wash drawing for this etching (private collection, 225 x 270 mm).

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Charles Tunnicliffe Prints: A Catalogue Raisonné

Prints

57 Kemps Croft Farm, Sutton, 1928

58 Herding Sheep at Kemps Croft Farm, 1928

Etching in black on J. Whatman wove paper 103 x 229 mm (4 x 9 in.)

Etching in black on J. Whatman wove paper 187 x 378 mm (7½ x 15 in.)

inscribed: [plate] no edition size: not declared publisher: unpublished states: not recorded collection: oym (copper plate)

inscribed: [plate] no edition size: 75 publisher: H. C. Dickins, London, 1928 (6gns) states: not recorded reference: Fine Prints of the Year 1928 collections: mm, nlw

Tunnicliffe cherished such views as this one across the meadow to Kemps Croft Farm in Sutton village. ‘Until I was nineteen years old,’ he wrote in My Country Book, ‘I knew little of any other country than my own corner of east Cheshire. Farm work was never-ending and prevented any holidays but those of a few hours duration.

Within a radius of three or four miles round the farm I had an intimate knowledge of nearly every square yard of ground, and with it I was well content, for it was full and beautiful countryside.’

In 1932, Tunnicliffe etched Tarka: Otter and Trout (cat. 106) on the reverse of this plate.

87

This is Tunnicliffe’s second and larger etching of Kemps Croft Farm (cat. 57). It was drawn following his return to Cheshire. After seven years in London, he felt ‘the need for more contact with the country’. Since his widowed mother had given up Lane Ends Farm, he settled in Hurdsfield on the edge of Macclesfield. Though Tunnicliffe now had a motorcycle to explore, draw and paint the countryside, he missed his old black mare Polly, her ‘variable shades of behaviour’ and ‘companionship’, not to mention the views over the tops of hedges.

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Charles Tunnicliffe Prints: A Catalogue Raisonné

Prints

57 Kemps Croft Farm, Sutton, 1928

58 Herding Sheep at Kemps Croft Farm, 1928

Etching in black on J. Whatman wove paper 103 x 229 mm (4 x 9 in.)

Etching in black on J. Whatman wove paper 187 x 378 mm (7½ x 15 in.)

inscribed: [plate] no edition size: not declared publisher: unpublished states: not recorded collection: oym (copper plate)

inscribed: [plate] no edition size: 75 publisher: H. C. Dickins, London, 1928 (6gns) states: not recorded reference: Fine Prints of the Year 1928 collections: mm, nlw

Tunnicliffe cherished such views as this one across the meadow to Kemps Croft Farm in Sutton village. ‘Until I was nineteen years old,’ he wrote in My Country Book, ‘I knew little of any other country than my own corner of east Cheshire. Farm work was never-ending and prevented any holidays but those of a few hours duration.

Within a radius of three or four miles round the farm I had an intimate knowledge of nearly every square yard of ground, and with it I was well content, for it was full and beautiful countryside.’

In 1932, Tunnicliffe etched Tarka: Otter and Trout (cat. 106) on the reverse of this plate.

87

This is Tunnicliffe’s second and larger etching of Kemps Croft Farm (cat. 57). It was drawn following his return to Cheshire. After seven years in London, he felt ‘the need for more contact with the country’. Since his widowed mother had given up Lane Ends Farm, he settled in Hurdsfield on the edge of Macclesfield. Though Tunnicliffe now had a motorcycle to explore, draw and paint the countryside, he missed his old black mare Polly, her ‘variable shades of behaviour’ and ‘companionship’, not to mention the views over the tops of hedges.

141

Bob Martin Condition Powders In the spring of 1935 Tunnicliffe was commissioned, via the Liverpool agency of D. R. Griffiths Ltd., to produce wood engravings of various dog breeds to promote Bob Martin Condition Powders. Founded by Robert Martin in Southport in 1892, the company manufactured vitamin and mineral powders to supplement canine diets.

Tunnicliffe was requested to show the dogs before and after treatment. ‘Should a background be necessary,’ he was briefed, it should be ‘suggesting suburbia’. The product was aimed at a middle-class market with enough disposable income to lavish on dog grooming – ‘because your dog shares a domesticated life with you and eats prepared foods which are unnatural to him’. Long before the UK Trade Descriptions Act of 1968 that prevented manufacturers from misleading consumers, Bob Martin was making wild claims about the efficacy of its treatments.

‘No dog can have this glorious fitness without the help of Bob Martin’s Condition Powders’, the company asserted, ‘for these famous powders alone provide the natural blood correctives which every dog needs. By removing every impurity from the blood, Bob Martin’s Condition Powders prevent and cure all common blood disorders – continual scratching, loose coat, listlessness, loss of appetite, eczema and eczema-gout (swelling of the toes).’ The advertisements continued: ‘See the difference condition makes. Never again will your dog annoy you by shedding his coat or scratching himself.’

As Bob Martin pointed out in its trade magazine The Lead, this was the ‘biggest advertising campaign ever launched for dog medicines’. The company urged ‘retailers to secure their full share of this business by showing Bob Martin displays in their windows and on their counters’, arguing that sales of Bob Martin Condition Powders would ‘soar to a record height’. They figured that no fewer than ‘three hundred million separate Bob Martin advertisements’ made up the campaign and that large and half-page announcements would be seen in ‘all leading newspapers and magazines by dog owners in every part of Britain’.

Tunnicliffe was asked to supply six signed proofs and twenty unsigned impressions from each block for use ‘as

Detail of cat. 129

guides to display material’. These were intended for magazine advertisements such as that published on the back cover of The Radio Times issue dated 13 September 1935.

As evidenced by the artist’s Record of Sales, Tunnicliffe was paid an initial £10 for a trial block. He submitted an additional five blocks. Four were accepted at £12.10s each.

Alsatians (cat. 139) was rejected as it projected ‘too much of a country atmosphere’. The rhododendron bush behind the listless Alsatian, it was felt, gave ‘the appearance of a country residence’. A representative of Bob Martin’s marketing department suggested that Tunnicliffe cut a new block showing two smooth-haired terriers (cats 132, 133).

The company provided Tunnicliffe with ‘many references’ showing ‘smooth haired terriers in different positions’.

Tunnicliffe went on to supply small wood engravings of begging dogs (£8); six signed prints of each of the four accepted blocks (£12); twenty unsigned prints of each of the four accepted blocks (£6); four more large blocks at £15 each (£60); and a Dalmatian begging, small (£1.10s).

Between December 1936 and January 1937, Tunnicliffe produced drawings of the West Highland Terrier, Sealyham Terrier, Setter and Spaniel (£6 each, less 10%); repeat drawings of the Sealyham and Spaniel (£3 each, less 10%); and three new drawings of the Setter, West Highland Terrier and Sealyham Terrier for new advertisements. Tunnicliffe delivered the next consignment in February 1937: two sets of West Highland Terriers and Spaniels ‘Before and After’ (£12); and a Scottie and Fox Terrier (£4 each). He completed the commission in March 1937 with drawings of ‘two sets of dogs’, the West Highland Terrier and the Scottie.

Much of Bob Martin’s advertising archive was discarded when the company relocated from Southport in Lancashire to Yatton in Somerset. Extant prints all derive from a folio of 176 proof wood engravings and 13 pencil and ink drawings, heightened with white gouache that are related to the project in the artist’s studio at the time of his death (Christie, Manson and Woods, London, Valuation for Probate, 1980, Item 424, £100). There is no record of the states. Only three woodblocks of begging dogs have survived.

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Charles Tunnicliffe Prints: A Catalogue Raisonné

Prints

129 Fox Terriers Before and After Bob Martin’s, 1935

131 Fox Terriers Before and After Bob Martin’s, 1935

Wood engraving for Bob Martin Condition Powders 140 x 175 mm (5½ x 7 in.)

Wood engraving for Bob Martin Condition Powders 126 x 158 mm (5 x 6½ in.)

inscribed: [block, lower left] CFT (monogram) edition size: 6 signed, 20 unsigned + working proofs in black on Japan paper publisher: Bob Martin Ltd., Southport reference: The Radio Times, 13 September 1935 (back cover)

inscribed: [block, lower right] CFT (monogram) edition size: 6 signed, 20 unsigned + working proofs in black on Japan paper publisher: Bob Martin Ltd., Southport

130 Fox Terrier, 1935 Wood engraving for Bob Martin Condition Powders Dimensions unknown inscribed: [block, lower left] CFT (monogram) edition size: 6 signed, 20 unsigned + working proofs in black on Japan paper publisher: Bob Martin Ltd., Southport

132 Jack Russell Terriers Before and After Bob Martin’s, 1935 Wood engraving for Bob Martin Condition Powders 126 x 158 mm (5 x 6¼ in.) inscribed: [block, lower left] CFT (monogram) edition size: 6 signed, 20 unsigned + working proofs in black on Japan paper publisher: Bob Martin Ltd., Southport

133 Jack Russell Terriers Before and After Bob Martin’s, 1935 Wood engraving for Bob Martin Condition Powders 140 x 175 mm (5½ x 7 in.) inscribed: [block, lower left] CFT (monogram) edition size: 6 signed, 20 unsigned + working proofs in black on Japan paper publisher: Bob Martin Ltd., Southport

134 Dalmatians Before and After Bob Martin’s, 1935 Wood engraving for Bob Martin Condition Powders 126 x 158 mm (5 x 6¼ in.) inscribed: [block, centre left on coffer] CFT edition size: 6 signed, 20 unsigned + working proofs in black on Japan paper publisher: Bob Martin Ltd., Southport

135 Spaniels Before and After Bob Martin’s, 1935 Wood engraving for Bob Martin Condition Powders 127 x 158 mm (5 x 6¼ in.) inscribed: [block, lower right] CFT (monogram) edition size: 6 signed, 20 unsigned + working proofs in black on Japan paper publisher: Bob Martin Ltd., Southport

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236

Charles Tunnicliffe Prints: A Catalogue Raisonné

Prints for Book Illustrations

287 Days of Autumn, 1933 Wood engraving for ‘Days of Autumn’ in Henry Williamson, The Lone Swallows, p. 170 166 x 102 mm (6½ x 4 in.) edition size: not declared, printed in black on Japan paper states: not recorded

The coming of the morning mist signalled that ‘the fire of autumn was kindled’, wrote Williamson in ‘Days of Autumn’. Hawthorn foliage was ‘tinged with the rust of decay’, bramble leaves turned red, and ‘soon the flames would mount the mightier trees’.

‘Nature seemed to care nothing for the things that were created’, Williamson declared, and ‘the hand that composed so lovingly decomposed as inevitably’.

285 Louts, Guns and Lurchers, 1933

286 Barn Owl at the Wharves, 1933

Wood engraving for ‘Sportsmen of the Rubbish-Heaps’ in Henry Williamson, The Lone Swallows, p. 149 164 x 102 mm (6½ x 4 in.)

Wood engraving for ‘Birds in London: Strix Flammea’ in Henry Williamson, The Lone Swallows, p. 163 163 x 101 mm (6½ x 4 in.)

edition size: not declared, printed in black on Japan paper states: not recorded

edition size: not declared, printed in black on Japan paper states: not recorded

Ignoring a notice proclaiming that ‘Trespassers will be Prosecuted’ and disregarding that it is unlawful to pursue game on Sundays and carry a gun without a licence, ‘certain cockney sportsmen’ go to the rubbish heaps some eight miles south-east of London Bridge in search of quarry.

The shooting parties bear sawn-off shotguns and are accompanied by leering mongrel greyhounds. The hare, rabbit and partridge having long since disappeared, sparrows were now ‘common game’. The ‘Sportsmen’ described by Williamson considered thrushes and blackbirds to be the ‘equivalent of pheasants’, while the ‘large missel-thrush’ caused ‘as much excitement and admiration as a first woodcock’. The ‘lowlier fraternity’, meanwhile, hunted ‘the humble rat’.

The paper in which the woodblock was wrapped bears Tunnicliffe’s inscriptions ‘Toughs with Guns and Lurchers’ and ‘Louts, Guns and Lurchers’.

Standing by the parapet of London Bridge, Williamson imagined in ‘Birds in London’ how ‘the wild eyes of an ancient Briton’ would react to what ‘had fallen to the river’. Flickering ‘strange cliffs’ now towered where forests once stood. London is old, he mused, but ‘the spirit of earth is older’, and its wild birds – kingfisher, owl, woodpecker, heron and kestrel hawk – ‘sometimes return to their ancient river haunts’ and woodlands.

Late one summer night, as Williamson left his Fleet Street office, he paused at Temple Gardens near the Embankment, where he spotted a barn owl hunting mice. He knew there were brown owls in Hyde Park, but never before had he seen Strix Flammea. Owls hunt by sound and usually avoid the cities.

There was a chance, Williamson wrote, that in the ‘forsaken silence of the morning’ when traffic is stilled and only ‘human derelicts’ huddle near the river, ‘you will see Strix Flammea as he floats, a great moth of a bird, round wharves and docks of London Bridge’.

237

236

Charles Tunnicliffe Prints: A Catalogue Raisonné

Prints for Book Illustrations

287 Days of Autumn, 1933 Wood engraving for ‘Days of Autumn’ in Henry Williamson, The Lone Swallows, p. 170 166 x 102 mm (6½ x 4 in.) edition size: not declared, printed in black on Japan paper states: not recorded

The coming of the morning mist signalled that ‘the fire of autumn was kindled’, wrote Williamson in ‘Days of Autumn’. Hawthorn foliage was ‘tinged with the rust of decay’, bramble leaves turned red, and ‘soon the flames would mount the mightier trees’.

‘Nature seemed to care nothing for the things that were created’, Williamson declared, and ‘the hand that composed so lovingly decomposed as inevitably’.

285 Louts, Guns and Lurchers, 1933

286 Barn Owl at the Wharves, 1933

Wood engraving for ‘Sportsmen of the Rubbish-Heaps’ in Henry Williamson, The Lone Swallows, p. 149 164 x 102 mm (6½ x 4 in.)

Wood engraving for ‘Birds in London: Strix Flammea’ in Henry Williamson, The Lone Swallows, p. 163 163 x 101 mm (6½ x 4 in.)

edition size: not declared, printed in black on Japan paper states: not recorded

edition size: not declared, printed in black on Japan paper states: not recorded

Ignoring a notice proclaiming that ‘Trespassers will be Prosecuted’ and disregarding that it is unlawful to pursue game on Sundays and carry a gun without a licence, ‘certain cockney sportsmen’ go to the rubbish heaps some eight miles south-east of London Bridge in search of quarry.

The shooting parties bear sawn-off shotguns and are accompanied by leering mongrel greyhounds. The hare, rabbit and partridge having long since disappeared, sparrows were now ‘common game’. The ‘Sportsmen’ described by Williamson considered thrushes and blackbirds to be the ‘equivalent of pheasants’, while the ‘large missel-thrush’ caused ‘as much excitement and admiration as a first woodcock’. The ‘lowlier fraternity’, meanwhile, hunted ‘the humble rat’.

The paper in which the woodblock was wrapped bears Tunnicliffe’s inscriptions ‘Toughs with Guns and Lurchers’ and ‘Louts, Guns and Lurchers’.

Standing by the parapet of London Bridge, Williamson imagined in ‘Birds in London’ how ‘the wild eyes of an ancient Briton’ would react to what ‘had fallen to the river’. Flickering ‘strange cliffs’ now towered where forests once stood. London is old, he mused, but ‘the spirit of earth is older’, and its wild birds – kingfisher, owl, woodpecker, heron and kestrel hawk – ‘sometimes return to their ancient river haunts’ and woodlands.

Late one summer night, as Williamson left his Fleet Street office, he paused at Temple Gardens near the Embankment, where he spotted a barn owl hunting mice. He knew there were brown owls in Hyde Park, but never before had he seen Strix Flammea. Owls hunt by sound and usually avoid the cities.

There was a chance, Williamson wrote, that in the ‘forsaken silence of the morning’ when traffic is stilled and only ‘human derelicts’ huddle near the river, ‘you will see Strix Flammea as he floats, a great moth of a bird, round wharves and docks of London Bridge’.

237

320

Charles Tunnicliffe Prints: A Catalogue Raisonné

Prints for Book Illustrations

419 The Village Cobbler, 1949 Wood engraving for ‘The Village’ in Richard Jefferies, Wild Life in a Southern County, p. 86 70 x 90 mm (2¾ x 3½ in.) edition size: not declared, printed in black on Japan paper states: not recorded collection: mm

‘Despite the machine-sewn boots and their cheapness’, Jefferies writes in the ‘The Village’, the ‘village cobbler is still an institution’ that enjoys the support of a ‘considerable number of patrons.’

‘The labourers working in the fields need a boot that will keep out the damp, and for that purpose it must be hand-sewn: the cobbler, having lived among them all his life, understands what is wanted better than the artisan of the cities, and knows how to stud the soles with nails and cover toe and heel with plates till the huge boot is literally iron-clad.’

It is not surprising that of all the country craftsmen described by Jefferies in ‘The Village’, Tunnicliffe chose this subject, given that his father had been a cobbler by trade.

420 A Shepherd Ponders, 1949 Wood engraving for ‘Village Architecture’ in Richard Jefferies, Wild Life in a Southern County, p. 108 70 x 90 mm (2¾ x 3½ in.) edition size: not declared, printed in black on Japan paper states: not recorded

‘The shepherd’, writes Jefferies, ‘has a distinct individuality, and is generally a much more observant man in his own sphere than the ordinary labourer.’

‘On the hills he has often little to do but ponder deeply sitting on the turf of the slope, while the sheep graze in the hollow, waiting for hours as they eat their way. Therefore by degrees a habit of observation grows upon him.’

Acquainted with every single field, farm, tree and hedgerow in the parish, the shepherd was also the ‘last of all to abandon the old custom of long service’.

421 Old Wagon Under the Rickyard Elm, 1949 Wood engraving for ‘The Hamlet’ in Richard Jefferies, Wild Life in a Southern County, p. 127 140 x 89 mm (5½ x 3½ in.) edition size: 50 declared, printed in black on Japan paper states: not recorded

‘How many a man’s life has centred about the wagon!’ Jefferies writes in ‘The Hamlet’.

‘As a child he rides in it as a treat to the hayfield with his father; as a lad he walks beside the leader, and get his first ideas of the great world when they visit the market town. As a man he takes command and pilots the ship for many a long, long year. When he marries, the wagon, lent for his own use, brings home furniture. After a while, his own children go for a ride in it, and play in it when stationary in the shed.’

It ‘carries the weak-kneed old man in pity to and from the old town’ and takes ‘many a plain coffin’ to the churchyard. Even when they are ‘too shaky for farm use’ the old folk ‘will not sell the ancient vessel’. It stands quietly rotting behind the rickyard under the elms.

321

322

Charles Tunnicliffe Prints: A Catalogue Raisonné

Prints for Book Illustrations

323

422 The Better Class of Farmers, 1949 Wood engraving for ‘The Farmhouse’ in Richard Jefferies, Wild Life in a Southern County, p. 142 70 x 90 mm (2¾ x 3½ in.) edition size: not declared, printed in black on Japan paper states: not recorded

According to Jefferies, the ‘better class of farmers keep hunters’ and ‘ride constantly to the hounds’.

In spring ‘comes the local steeplechase – perhaps the most popular gathering of the year’ – when many attend the ‘race-ground from the great houses of the neighbourhood’.

425 The Ha-ha, 1949

427 Heron in a Fir Tree, 1949

Wood engraving for ‘The Wood-pile’ in Richard Jefferies, Wild Life in a Southern County, p. 198 70 x 90 mm (2¾ x 3½ in.)

Wood engraving for ‘The Ash Copse’ in Richard Jefferies, Wild Life in a Southern County, p. 231 70 x 90 mm (2¾ x 3½ in.)

edition size: not declared, printed in black on Japan paper states: not recorded collection: mm

edition size: not declared, printed in black on Japan paper states: not recorded collection: mm

Jefferies describes a row of beehives standing alongside a ha-ha wall, the loose stones of which were home to thousands of ants.

In ‘The Ash Copse’, Jefferies describes a heron perching on a fir tree, from which height the bird can ‘command an extensive view and feels secure against attack’. The heron is sure to rest there after visiting the water-meadows.

Tunnicliffe drew, painted and engraved herons on many occasions. In Bird Portraiture he advised his readers to cast their eyes ‘aloft to that stump-like shape on the very top of the pine tree’.

That shape, Tunnicliffe pointed out, was a ‘heron at rest, with head and neck sunk between its shoulders, and a bill projecting from the top of the shoulders’.

423 A Cuckoo Sang, 1949

424 Goldfinches and Apple Blossom, 1949

426 Corncrake in the Meadow, 1949

Wood engraving for ‘Birds of the Farmhouse’ in Richard Jefferies, Wild Life in a Southern County, p. 159 36 x 89 mm (1½ x 3½ in.)

Wood engraving for ‘The Orchard’ in Richard Jefferies, Wild Life in a Southern County, p. 177 140 x 89 mm (5½ x 3½ in.)

Wood engraving for ‘The Home-Field’ in Richard Jefferies, Wild Life in a Southern County, p. 214 36 x 90 mm (1½ x 3½ in.)

edition size: not declared, printed in black on Japan paper states: not recorded

edition size: 50 declared, printed in black on Japan paper states: not recorded collection: mm

edition size: not declared, printed in black on Japan paper states: not recorded collection: mm

‘Who can stay indoors when the goldfinches are busy among the bloom on the apple trees?’ Jefferies asks, with ‘a flood of sunshine falling through a roof of rosy pink and delicate white blossom overhead’.

‘Listen how happy the goldfinches are in the orchard … a single summer must be a long time in their chronology, for they are so very very busy: a bright sunshiny day must be like a month to them.’

Tall grass in the meadow is home to the corncrake, a shy bird with the distinctive cry, Crek! Crek, which Tunnicliffe remembered hearing in his youth after a day’s haymaking.

As Jefferies points out, the birds’ ‘desire of concealment’ means they arrive when the grass ‘has grown sufficiently high and thick to hide their motions’. Yet their loud call – like the noise of a wooden rattle – draws attention to their presence. ‘It is difficult to tell from what place the cry proceeds: at one moment it sounds almost close at hand, the next fifty yards off.’ Any ‘attempt to mark the spot is in vain’.

In ‘Birds of the Farmhouse’, Jefferies tells of a cuckoo that came to nest in the ivy close to a casement window. It would have laid an egg there ‘had she not been shot by a person who wanted a cuckoo to stuff’.

Another cuckoo took up residence in a wagtail’s nest among ‘ivy that had grown round the decaying stump of an old fir tree’. She ‘sang continuously day after day on an ash tree close to the garden’.

336

marriage 17, 47 influences 18, 19, 45, 77, 108 etchings 18–21 teaches art 19–20, 46, 159 book illustrations 21–23 wood engravings 21–23, 33 eye problems 23, 167, 316 and truth to nature 24–25 ‘post-mortem drawings’ 26, 163 portraits 26, 128 watercolours 26, 33, 36, 167 advertisements 31, 33 signatures and monograms 34–35, 168 exhibitions 38, 39 Christmas cards 123, 129, 312 library 165 books Bird Portraiture 12, 13, 23–24, 130, 133, 148, 151–55, 162, 163, 166 Birds of the Estuary 33 Come Sketching 23, 136, 165 The Farm 33 How to Draw Farm Animals 12, 13, 70, 82, 92, 115, 117, 118, 148 Mereside Chronicle 12–13 My Country Book 13–14, 15, 17, 23, 24 et passim Shorelands Summer Diary 12 Shorelands Winter Diary 31 Tunnicliffe, Dorothy (CT’s sister) see Downes, Dorothy Tunnicliffe, Florence May (CT’s sister) 45, 72, 108 Tunnicliffe, Harold (CT’s brother) 45 Tunnicliffe, Margaret (CT’s mother) 11, 35, 44, 45, 47, 54, 59, 63, 63, 68–70, 68–70, 72, 72, 81–83, 82–83, 85, 85 Tunnicliffe, Sam (CT’s brother) 45 Tunnicliffe, William (CT’s father) 11, 45, 54, 56–59, 60–61, 68, 73, 75, 76, 82, 82, 93, 93 Tunnicliffe, Winifred (née Wonnacott, CT’s wife) 12, 26, 72, 102, 124, 173 marriage 17, 47 teaches art 19–20 CT’s prints of 34, 46–47, 46–47, 126, 126 helps CT with prints 90, 101 artistic abilities 114 Turner, Stanley 120, 120 Underwood, Leon 22 Unwin, Nora 21 Uttley, Alison 23 Vale Press 21 Van Dyck, Anthony, Justus Sustermans 42 Van Gelder Zonen 38 van Gogh, Vincent 222 Vautor, Thomas 280 Vermeer, Jan 84 Victoria and Albert Museum, London 104, 111 Virgil, The Aeneid 311

Walcot, William 36 Walham Green, London 45 Walker Art Gallery, Liverpool 34, 104 Wall Street Crash (1929) 20, 35, 114 Wallace, Alfred Russel The Malay Peninsula 296–97, 299 A Narrative of Travels on the Amazon and Rio Negro 300 Wallace, Edgar 17 Water’s Green, Macclesfield 79, 81, 108, 120, 120 Waters, Mr 108 Watkins-Pitchford, Dennis James 316 ‘The Way of an Eagle in the Air’ 282 Webb, Clifford 21 West Wales Naturalists’ Trust 31 What I’m Reading Now (radio programme) 24 Whipple, Dorothy, The Other Day 290 Whipsnade Zoo 156 Whistler, James Abbott McNeill 20 White, Gilbert, The Natural History and Antiquities of Selborne 263, 268, 270, 271, 274–76, 282, 284, 289, 311 Whitman, Walt 24 ‘Crossing Brooklyn Ferry’ 285 Wilder, Thornton 17 Williams, Harcourt, Tales from Ebony 23 Williams, Kyffin 26, 31 Williamson, Anne 231, 243 Williamson, Henry 21, 137, 263, 316 The Lone Swallows 21, 34, 224, 225–41, 226–41, 243 The Old Stag 21, 34, 173, 174, 192–207, 193–207, 243, 316 The Peregrine’s Saga 21, 23, 34, 126, 160, 242, 243–59, 244–59 Salar the Salmon 22, 23, 260, 261 The Star-born 23, 34, 208, 209–23, 210–23, 263, 316 Tarka the Otter 21, 22, 31, 34, 124–25, 124–25, 126, 148, 172, 173–91, 175–91, 192, 207, 214, 255, 316 Williamson, Kenneth, The Sky’s Their Highway 310, 311–15, 312–15 Wiltshire Downs 243, 316 Witherby, Harry Forbes Handbook of British Birds 165 ‘The Secret of the Long-tailed Tit’s Architecture’ 275 Woburn, Bedfordshire 156, 162 Wolf, Joseph 165 Wong, Anna May 17 Wonnacott, Winifred see Tunnicliffe, Winifred (CT’s wife) Woolwich Polytechnic 46 Wragg, Ben 128, 128 Yeates, George Kirkby, The Life of the Rook 272 Yeeles, G. 76 Zweig, Stefan 17