Ackland And Edwards Trust

Jackanda Models

Judith Ackland saw her model-making as a direct outcome of the improvisation of wartime life, with Jackanda’s (as they became known) originating as last-minute ornaments for a Christmas tree in 1945. The Ackland and Edwards Archive holds a comprehensive collection of photographs and papers relating to the research, construction and distribution of Jackanda models made by Judith, and later by Judith and Mary Stella. Initially thought of as a commercial opportunity, it became apparent that the process was too time-consuming to be successfully manufactured quickly in vast numbers. As Judith herself states in notes from a lecture she gave;
 
“ However, as time went on I realized more and more that what I really wanted to do was to perfect and elaborate – not to simplify and speed up with an eye on the time at every stage of production. I was getting better and better but not quicker. I got more and more fussy about the finish.”
 
Judith’s work progressed, moving from single marketable Christmas decorations and an exhibition of Ballet models at the Twenty Brook St. Galleries in the late 1940s, to her first group scene – Nativity Group in 1948 (commissioned by a gift shop, but unsold). Her first commission came through Mary Stella’s association with John Stirling of the Foreign Bible Society – for an exhibition in their library from the Colonial Office which led to a five model commission for their travelling exhibition. Later came commissions for dioramas of Queen Victoria, Prince Albert and children from Arts Council Gallery and Florence Nightingale in the Hospital at Scutari 1854 (1954) for a Nursing Exhibition held in Seymour Hall. From 1955 onwards Judith and Mary Stella worked to produce seven complete dioramas for the Windsor Guildhall Museum – five of which were given permanent fixtures in their exhibition space – and several dioramas for Reading Museum.
 

Mary Stella and Judith collaborated fully on these and other dioramas, Judith made the models and Mary Stella painted the scenes, both working together on the design, setup and research needed for these often complex and historical narratives. The Ackland and Edwards archive contains mock-ups, Jackanda skeletons, patterns, tools as well as boxes of colour swatches and a multitude of notebooks and sketchbooks showing the detail and quantity of research carried out by both.

 
 
 
 

The Ackland and Edwards archive tells us how Mary Stella Edwards’ love of writing and art began in her early childhood. Correspondence between Mary Stella and her parents, shows how her artistic passions were fully supported by both, especially her father who was by profession an architect. Holidays snaps and Mary Stella’s diaries show the family exploring the Lake District, Snowdonia, Devon and touring parts of Scotland. Walking those landscapes was invariably accompanied by photography and sketching. These working holidays were continued on many occasions with Judith, and the results of which were exhibited widely.

 

Mary Stella was educated at the Welsh Girl’s School in Ashford, and later studied art at Battersea and Regent Street Polytechnic. Sketchbooks and loose work show how Mary Stella explored drawing, printmaking, illustration and watercolour painting while at college – as well as literary pursuits – during her time there. She was part of many artistic societies, and kept in touch with many of the fellow students she befriended during her time there.

 

The Ackland and Edwards archive tells us how Mary Stella Edwards’ love of writing and art began in her early childhood. Correspondence between Mary Stella and her parents, shows how her artistic passions were fully supported by both, especially her father who was by profession an architect. Holidays snaps and Mary Stella’s diaries show the family exploring the Lake District, Snowdonia, Devon and touring parts of Scotland. Walking those landscapes was invariably accompanied by photography and sketching. These working holidays were continued on many occasions with Judith, and the results of which were exhibited widely.

 

Mary Stella was educated at the Welsh Girl’s School in Ashford, and later studied art at Battersea and Regent Street Polytechnic. Sketchbooks and loose work show how Mary Stella explored drawing, printmaking, illustration and watercolour painting while at college – as well as literary pursuits – during her time there. She was part of many artistic societies, and kept in touch with many of the fellow students she befriended during her time there.