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Although her favourite media were transparent water-colour and pen, Kay Woollard also produced many remarkable photograph-like or even quasi ‘holographic’ drawings in pencil, initially for '''The Lord of the Rings''', but also later for her own stories, most of which remain so far unpublished.
Although her favourite media were transparent water-colour and pen, Kay Woollard also produced many remarkable photograph-like or even quasi ‘holographic’ drawings in pencil, initially for '''The Lord of the Rings''', but also later for her own stories, most of which remain so far unpublished.
[[File:LotrII017 - Pippin.jpg|thumb|Pippin at the start of The Lord of the Rings]]


Another characteristic of her artwork was the way that everything Kay drew, not just people, but plants, trees and even inanimate objects seemed somehow imbued with life, meaning and purpose. Although this had always seemed the case to her, she attributed the crystallisation of this realisation to the discovery of Tibetan Buddhism during her stay in London.
Another characteristic of her artwork was the way that everything Kay drew, not just people, but plants, trees and even inanimate objects seemed somehow imbued with life, meaning and purpose. Although this had always seemed the case to her, she attributed the crystallisation of this realisation to the discovery of Tibetan Buddhism during her stay in London.

Revision as of 15:26, 22 November 2022

Cover by Kay Woollard for Amon Hen 73, the Bulletin of the Tolkien Society

Kay (Kathleen) Woollard, aka Dora Baggins (1924-2008) was an artist known by her Tolkien related illustrations, specially in publications of the Tolkien Society.

History

Kathleen (known as Kay) Woollard was born in the Pennine town of Halifax, Yorkshire, UK, on 3 July 1924. [[Kay Woollard laying a wreath on JRR Tolkien's Grave]

From babyhood onwards, Kay Woollard was endowed with a remarkable visual memory. A storyteller from childhood she used to fill drawing books with her own tales, sometimes told entirely in pictures.

Education and career

On leaving school, Kay studied at the Halifax School of Art, where she qualified as a pictorial designer. After working as a draughtsman for the war effort, she went to the Royal College of Arts in London, where she studied illustration with, amongst others, Eduardo Ardizzone.

Painting with light

Always fascinated with the play of light, reflected, refracted or filtered through a range of media, Kay Woollard specialized in stained glass. Upon his death her stained-glass tutor at the RCA bequeathed to her a recently acquired commission to contribute windows to the Tower House, Kensington, the masterpiece of William Burges, the Gothic revivalist architect, which had been badly damaged during the Blitz, as he thought her his best pupil. Upon the completion of this project, she worked in London as a stained glass artist and exhibited at the Whitechapel Art Gallery and the Guildhall. Another of Kay's interests was the representation of fabric. Throughout her life she produced remarkable drawings of clothes and garments, initially for fashion and tailoring magazines and, later on, for her own characters. She taught art and illustrated several books for A&C Black Publishers.

Towards the end of World War II, she was selected to work for the War Office and contributed to the war effort, especially for the campaign in Burma (today Myanmar), by producing maps, drawings and plans for the British Army.

A daughter's duty

Kay Woollard would have happily remained in London and made a full career there. However, as an only child and a girl to boot, growing up in an environment where girl children were not expected to have a professional career, she was called back to Yorkshire to care for her mother when she fell ill in the late 1940s, as was expected of her. She nursed first her mother, then her father, for over 40 years. After a spell in advertising, she joined a Bradford firm of glass and mirror manufacturers and remained with them for a number of years as artist-in-residence and then as freelance, designing and decorating a range of glass pieces. Sadly, she admitted that it only paid her "half a peanut".

The Tolkien Revolution and after

However, in 1979, the world changed for her as she discovered the works of JRR Tolkien. Kay became an instant devotee and joined the Tolkien Society the following winter, where her epistolary skills rapidly earned her the nickname of Dora Baggins (one of Bilbo Baggins’ cousins). She always called her discovery "The Tolkien Revolution" and said that with Tolkien’s books she "had been handed a golden key". She remained an enthusiastic member all her life and was co-founder of the local Halifax-based Tolkien group, Amon Sûl Smial, at the end of 1979. She was made Honorary Member of the Tolkien Society in the early 1980s.

Kay Woollard and Vera Chapman at the Turf Tavern, Oxford (3).jpg
Dora Baggins (Kay Woollard) and Belladonna Took (Vera Chapman) in full costume

Over the years, Kay contributed many drawings to Tolkien Society publications. This included a range of covers for Amon Hen, decorations for Mallorn, as well as covers for the 1992 Tolkien Centenary Conference Progress Reports and a centrefold double page piece for the Souvenir Book.

In the 1980s, she also contributed covers for Weathertop, the Amon Sûl Smial magazine, along with a cartoon page and many illustrations.

The woman who could see Hobbits

To thousands of people round the world, Kay Woollard was best known as "the woman who could see Hobbits". This is indeed for her depictions of Hobbits that she is mostly remembered, but she was also renowned for her remarkably life-like representations of Ents, Dwarves and Elves. She donated her best-known piece of artwork, her illustrated map of J.R.R. Tolkien’s A Part of the Shire, to the Tolkien Society in 1983.

When she saw Peter Jackson’s Lord of the Rings movies, she thought that Hobbits depictions resembled hers and she concluded that some of the film designers had seen her drawings.

File:Two Gaffers and a Gammer.jpg
Two Gaffers and a Gammer

Style

Although her favourite media were transparent water-colour and pen, Kay Woollard also produced many remarkable photograph-like or even quasi ‘holographic’ drawings in pencil, initially for The Lord of the Rings, but also later for her own stories, most of which remain so far unpublished.

File:LotrII017 - Pippin.jpg
Pippin at the start of The Lord of the Rings

Another characteristic of her artwork was the way that everything Kay drew, not just people, but plants, trees and even inanimate objects seemed somehow imbued with life, meaning and purpose. Although this had always seemed the case to her, she attributed the crystallisation of this realisation to the discovery of Tibetan Buddhism during her stay in London.

Published work

Complete with illustrations and accompanying CDs, two of Kay Woollard's tales, The Terror of Tatty Walk and Wilmot’s Very Strange Stone or What Came of Building Snobbits: A Story for Yuletide, have thus far been published by Walking Tree Publishers. Another of her stories, The Survivor, was published in Mallorn 25 (pp. 23-9).

Despite gradually developing mobility problems which prevented her from attending Tolkien Society events, Kay continued to remain present in members’ minds, as her drawings were displayed every year at the Society’s Oxonmoot’s arts and crafts exhibition. In 2002 some of her artwork was also presented at Chalk Farm Gallery, Camden Town, London.

After being admitted to Halifax Royal Hospital in early December 2008, Kay Woollard died peacefully at 11:30pm on 29 December, 2008.

Legacy: The Kay Woollard Memorial Trust

A charitable institution, The Kay Woollard Memorial Trust is currently in the process of being established to catalogue her artwork, and to preserve her archives and memory for posterity. Further information on this project and other matter regarding Kay Woollard can be obtained from her executor, Denis Bridoux. If you have purchased artwork from her in the past, do contact him as many of her pieces have not yet been inventoried.