Final visit to Nan Youngman collection, University of ReadingPosted: September 27, 2014
This week I made my fourth and final visit to see Nan Youngman’s papers at the University of Reading. It felt very much like a finishing up and plugging the gaps visit, and I know feel like I’ve looked at everything in the collection and seen the full scope of what’s there. I found out about some more minor details of the Pictures for Schools exhibitions such as how they were publicised – this included advertising at underground stations, and writing to London borough libraries to ask them to display leaflets.
One of the things I got from the trip was a real sense of who the educational buyers were from Pictures for Schools, and what types of artworks and which artists were particularly popular, through looking at a series of invoice books from 1949 to 1968 (although there are some gaps where invoice books are missing, including a long period in the 1950s).
Schools of all kinds, including secondary moderns, grammars, junior schools and independent schools purchased work from Pictures for Schools, sometimes on a one-off basis and sometimes as repeat buyers, with Manchester Grammar School being a particularly regular buyer (this interested me as Mrs Rutherston was frustrated that it failed to make use of Manchester Art Gallery’s Rutherston Loan Scheme, and seemed generally unimpressed with the quality of art teaching at the school). Other regular buyers included Greenwich Library in the 1960s, as well as various training colleges around the country, and occasionally adult, further and higher education establishments. Other buyers included county or city loan services linked with museums, including Reading Museum and Art Gallery (this service is still in operation and embroideries by artists including Constance Howard and Sadie Allen purchased through Pictures for Schools in the 1960s are still available for schools to borrow), Ferens Art Gallery, who made purchases on behalf of Hull Education Committee and the Leeds Loan Collection which was linked both with Leeds College of Art and Leeds Art Gallery.
Although, as I already knew, Derbyshire Museum Service made regular and extensive purchases, I revised my opinion a little about the number of local authorities making use of the scheme, who seem to be slightly less numerous and widespread than I thought, although Essex County Council, Kent, Cambridgeshire, Great Yarmouth, Cumberland/Carlisle, Northumberland/Newcastle, Lancashire, City of Coventry, Cambridgeshire/City of Cambridge, West Bromwich, City of Manchester, Shropshire, Worcestershire, Buckinghamshire, Oxford, Rochdale, the London County Council and later Nottingham and Scunthorpe and Bromley were enthusiastic and regular buyers from the scheme, with West Sussex, East Sussex, Norfolk, Bristol, Somerset, Devon, Dorset, East Yorkshire, Gloucester, Southampton, Bradford, Croydon, Kingston upon Thames, Rotherham, Birmingham and Harrow Schools Art Library making purchases more intermittently. I also realised I may have overstated the links between Pictures for Schools and counties such as the West Riding, Hertfordshire and Leicestershire, who I know to have had extensive loan collections and to have valued art in schools. Whilst they did certainly support Pictures for Schools in its early years, they appear to have stopped being regular purchasers by the late-1950s and 1960s, perhaps because they had become accustomed to buying art on a more year-round basis and approaching and liaising with artists and galleries direct. Educational buyers from Wales (and very occasionally Scotland) also made occasional purchases, although Wales had its own Pictures for Welsh Schools exhibitions from 1951 and a one-off Pictures for Scottish Schools exhibition was held in 1967. One thing I am interested in finding out more about are the art advisers who visited Pictures for Schools on behalf of county education committees, some of whom seem to have had interesting artistic careers and involvement in their own right, including Robert Washington, long-running art advisor for Essex.
I noticed that prints were by far the most popular item, probably due to their affordability (many buyers purchased prints unframed) with embroidery also popular and sculpture noticeably unpopular. One name which really stood out was the print-maker Peter Green, who seemed to make extensive sales at each exhibition, as did fellow print-makers Philip Greenwood, Michael Stokoe and Richard Tavener. Something else I noticed was that buyers often stuck with one artist and continued to collect their work year on year. As I’d observed previously, I also came across more correspondence from schools and local authorities which had purchased work from artists and wished to follow up by contacting the artists to ask for biographical or other information to complement the use of the works as learning resources, and sometimes to arrange local exhibitions of particular artists’ work.