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English illustrator of children's books

Pauline Diana Baynes (9 September 1922 – 1 August 2008) was an English illustrator, author, and commercial artist. She contributed drawings and paintings to more than 200 books, mostly in the children's genre. She was the first illustrator of some of J. R. R. Tolkien's minor works, including Farmer Giles of Ham, Smith of Wootton Major, and The Adventures of Tom Bombadil. She became well known for her cover illustrations for The Hobbit and The Lord of the Rings, and for her poster map with inset illustrations, A Map of Middle earth. She illustrated all seven volumes of C. S. Lewis's Chronicles of Narnia, from the first book, The Lion, the Witch and the Wardrobe. Gaining a reputation as the "Narnia artist", she illustratred spinoffs like Brian Sibley's The Land of Narnia. In addition to work for other authors, including illustrating Roger Lancelyn Green's The Tales of Troy and Iona and Peter Opie's books of nursery rhymes, Baynes created some 600 illustrations for Grant Uden's A Dictionary of Chivalry, for which she won the Kate Greenaway Medal. Late in her life she began to write and illustrate her own books, with animal or Biblical themes.

Baynes was born on 9 September 1922 at 67 Brunswick Place, Hove, East Sussex, England. Her father was Frederick William Wilberforce Baynes (1887–1967) and her mother was Jessie Harriet Maude Baynes, née Cunningham (c. 1888–1958). Her only sibling was her elder sister, Angela Mary Baynes. Baynes was happy in her expatriate infancy. Baynes recalled crying herself to sleep on her journey home. At fifteen, she followed her sister to the Farnham School of Art (now subsumed into the University for the Creative Arts). She spent two terms studying design, which was to become the foundation of her mature technique.

In 1940, a year into World War II, both Baynes sisters joined the Women's Voluntary Service. – and by trying to secure work from a major London publisher. Five days later, Eames wrote to Baynes requesting specimen drawings for "an adult fairy story (complete with dragon and giant!)" that would require "some historical and topographical (Oxford and Wales) realism". Baynes reassured Eames that she knew Oxford from having sketched there, and knew Wales from having picked Welsh potatoes. Tolkien's publishers thought differently, preferring to have his books illustrated by Alan Lee, Francis Mosley, Ted Nasmith and Margrethe II of Denmark. Ultimately, Tolkien decided that Baynes was not the right artist to illustrate his major works, judging that they needed pictures "more noble or awe inspiring" than she could produce.

[[File:The Hoard by Pauline Baynes. jpg|thumb|upright|Baynes's illustration The Hoard for J. R. R. Tolkien's 1962 book The Adventures of Tom Bombadil. The image was Baynes's favourite among the book's illustrations, but it disappointed Tolkien as he felt both the figures were implausible: the knight should have had a shield and helmet, while the dragon should have been watching the cave's entrance. The Adventures of Tom Bombadil, featuring some of Baynes's most delicate and meticulous imagery, was published in 1962. Baynes told Tolkien that her favourite among the book's poems was The Hoard; only much later did she learn that her illustration for that particular poem had disappointed him – she had drawn a dragon facing away from the mouth of its cave and a knight without either a shield or a helmet, which he had thought looked implausible.

In 1961 Puffin used a painting by Baynes for the cover of a paperback edition of The Hobbit. Three years later, Allen & Unwin published The Lord of the Rings in a three volume deluxe hardback edition for which they asked Baynes to design a slipcase. Never having read the story, Baynes was faced with the prospect of having to read a thousand pages of narrative before picking up a brush. Her sister, who knew the book well, rescued her from her predicament by painting a panorama of Tolkien's characters and locales that Baynes was able to borrow from. The triptych that Baynes created became one of the most widely reproduced of all her paintings, being recycled for the iconic cover art of a one volume paperback edition of The Lord of the Rings in 1968 and a three volume Unwin Paperbacks version in 1981. Baynes also created an image of Aragorn's standard that was used to promote The Return of the King in a newspaper advertisement in October 1955. Ballantine's American edition of the book was issued with an alternative Baynes cover. Yet another cover appeared when the book was reissued in the United Kingdom in 1975 in a second edition that was uniform with The Adventures of Tom Bombadil. Her illustrations were also used in an edition published in 2005 that was edited by Verlyn Flieger and included additional material written by scholars of Tolkien's work.

In 1969, while waiting for Tolkien to finish The Silmarillion, Allen & Unwin commissioned Baynes to paint a map of his Middle earth. With the help of cartographers from the Bordon military camp in Hampshire, Baynes created A Map of Middle earth that Allen & Unwin published as a poster in 1970. Both maps became famous.

In 1974, a year after Tolkien's death, Allen & Unwin published his poem Bilbo's Last Song as Baynes's third and final Tolkien poster. Her painting showed a scene that Tolkien described in the closing pages of The Lord of the Rings: Sam, Merry and Pippin stand at the Grey Havens, watching an elvish ship carrying Frodo, Bilbo, Elrond, Galadriel and Gandalf away from Middle earth to the land of Aman. In 1990, the poem was reissued as a book with three parallel sequences of Baynes's paintings: one illustrating Bilbo's journey from Rivendell to the Undying Lands, one showing Bilbo in various states of repose, and one depicting the events narrated in The Hobbit. Some of the illustrations were omitted when the book was reissued by other publishers twelve years later.

In 1978 Baynes painted a cover for a paperback edition of Tolkien's translations of Sir Gawain and the Green Knight, Pearl and Sir Orfeo. In 1980 Allen & Unwin published Poems and Stories, a de luxe, boxed, single volume anthology of several of Tolkien's shorter works. The book featured new illustrations by Baynes for the short story Leaf by Niggle, the verse drama The Homecoming of Beorhtnoth Beorhthelm's Son, Farmer Giles of Ham, The Adventures of Tom Bombadil and Smith of Wootton Major. It also included all of Baynes's original illustrations for the latter three titles, some revised with grey and orange tinting. Baynes used the opportunity provided by revisiting Tom Bombadil to rework her illustration for The Hoard to make its dragon and knight look the way Tolkien had wanted them to. It was reissued with a modified version of this cover when it was published in a pocket sized edition in 2014. Baynes's final Tolkien art was published in 2003, when an audiobook of Smith of Wootton Major and Leaf by Niggle was issued with a CD insert showing an image of Niggle painting his Great Tree that had been commissioned from Baynes in the 1970s but had remained unpublished.

[[File:Entering the Dawn Treader. jpg|thumb|upright|C. S. Lewis, seeking a suitable artist who could draw children and animals, felt that Baynes would meet the requirement. In 1949, after ten years of false starts, he finally completed a story about the country where the faun lived – the land of Narnia, where it was always winter but never Christmas. A close friend of Tolkien's, Lewis chose Baynes to illustrate his tale after enjoying her artwork for Farmer Giles of Ham, Too unworldly to negotiate the royalties deal that would have made her a multi millionaire, Baynes sold her work to Lewis's publishers for a flat fee of just £100 per book. Lewis commented that her work had done much to make the Narnia books popular and she became increasingly linked to the series and known as the "Narnia artist", a title she retained for much of her career. In his letters to Baynes, he praised her effusively. Her drawings were "really excellent" with a "wealth of vigorous detail". She did "each book a little bit better than the last". When she congratulated him on winning the Carnegie literary award for The Last Battle, he replied "is it not really 'our' Medal? I'm sure the illustrations were taken into consideration as well as the text." Sometimes, though, he was frank about her technical limitations. "If only you cd. take 6 months off and devote them to anatomy, there's no limit to your possibilities", he wrote. He noted that a knight was wearing his shield on his right arm instead of his left. Lewis told his friend Dorothy L. Sayers that "The main trouble about Pauline B. is her total ignorance of animal anatomy. In the v. last book she has at last learned how to draw a horse. I have always had serious reservations about her But she had merits (her botanical forms are lovely), she needed the work (old mother to support, I think), and worst of all she is such a timid creature, so 'easily put down' that criticism cd. only be hinted At any real reprimand she'd have thrown up the job, not in a huff but in sheer, downright, unresenting, pusillanimous dejection. She is quite a good artist on a certain formal fantastic level (did Tolkien's Farmer Giles far better than my books) but has no interest in matter – how boats are rowed, or bows shot with, or feet planted, or fists clenched. Arabesque [decoration] is really her vocation." Sayers in turn was scathing about Baynes's work.

Lewis made little impression on Baynes in their meetings. They corresponded little; she found him "kindly and tolerant", charming and polite. Much later, she learnt from a 1988 biography of Lewis that he had complained about her behind her back. "One doesn't need to have liked him to admire him", she told her confidante Charlotte Cory. "He never became a friend." She regretted that her Narnian art had overshadowed the rest of her work and she was ruefully aware that a book collector would pay more for a first edition of The Lion, the Witch and the Wardrobe than she had been paid for illustrating it. In 1994, James Riordan's A Book of Narnians provided a portrait gallery of Narnia's dramatis personae. Among others of Baynes's Lewisiana were Douglas Gresham's The Official Narnia Cookbook, The Magical Land of Narnia Puzzle Book, Sibley and Alison Sage's A Treasury of Narnians, The Narnia Trivia Book, The Wisdom of Narnia and Narnia Chronology. The illustrations of which Baynes was most proud were the almost six hundred that she created for Grant Uden's A Dictionary of Chivalry, on which she laboured for nearly two years. They won her the Chartered Institute of Library and Information Professionals' Kate Greenaway Medal for the best book illustrations of 1968.

When Baynes's father retired he left India and returned to England, settling with Baynes's mother in a house close to Baynes's own near Farnham in southwest Surrey. Baynes was also close to Tolkien, whose Christianity she approved of as "more rooted and unobtrusive" than Lewis's. There is a second, small Baynes archive at the University of Oregon. Most of the art that she created for Tolkien's and Lewis's books has remained continuously in print ever since it was first published. As of 1998, the Narnia stories alone had sold more than one hundred million copies. Baynes's paintings of Narnia have gained still wider currency through their use in featurettes in home media releases of Hollywood's Chronicles of Narnia movies. Looking back after half a century, Baynes's verdict on her momentous trip through the back of a wardrobe was down to earth. "I just thought of it as work." In their In Memoriam for Baynes in the Mythlore Inklings journal, Hammond and Scull stated that

by her hand, the invented worlds of J. R. R. Tolkien and C. S. Lewis first came visually to life. Some readers, indeed, have said that for them, her pictures were Middle earth, they were the land of Narnia".