Joyce and her sisters were all good at art, like their mother, and went to evening classes at Hastings School of Art, taking the train there and back along the coast. By the time they were teenagers, “Eth” (as Ethel was always known in the family) was having her pictures accepted for exhibitions at the Royal Academy in London and was soon selling paintings as a result. Then, through a friend, the girls were invited to meet Miss Brown of the magazine Home Chat. They quickly began to do illustrations for this magazine, so for the first time all three sisters started to earn money for themselves.
This money was soon to become very important for the family. In 1912, when Joyce was sixteen, her parents separated. In her diary (writing in French as if to keep it a secret) she recorded that her father wanted his family to leave the house. They stayed until Joyce and Nina had finished their term at art school, then the three girls moved with their mother to South London, where Eth had found them a tiny flat.
In London, Joyce and Nina enrolled at the Lambeth School of Art in 1912 – an uncle kindly agreed to pay the fees for both girls. They studied there five days a week for two years. In 1913 they moved to a house with a large room that the three girls could use as a studio.
The outbreak of the First World War in 1914 meant that food was scarce. Their mother had to spend a lot of time searching for meat and vegetables she could afford, while the girls worked hard earning money from illustrations for magazines, newspapers and advertisements. Joyce writes in her diary about drawing advertisements for Cherry Blossom boot polish and Mansion floor polish. She also writes about the German bombing raids on London – describing how, in September 1916, the sister had to get up in the middle of the night and go downstairs for safety, still in their nightclothes and bedtime plaits.
Despite the war and constant worries about money, family life continued happily throughout this time. In 1917 Joyce records in her diary that Nina (daringly) wanted to cut her hair short, and Eth longed to do the same, but Joyce felt “I couldn’t – it wouldn’t suit me well at all”. The sisters obviously got along very well together, but nevertheless Joyce wished she had some privacy. She was delighted when, shortly after her twenty-first birthday, she was able to have a room of her own – “My longing, for years and years.”
In 1918 they all moved again, to a house with a larger studio. Joyce went with her mother and sisters to the local Christian Science Church. There they met an artist who worked for The Christian Science Monitor. As a result, both Joyce and Nina began submitting stories and drawings to the paper, and it was on the Children’s Page in October 1925 that the first story about Milly-Molly-Mandy appeared. The idea had come into Joyce’s mind one day when “the sun was shining and I longed to be out in the country instead of sitting indoors all day, earning a living . . .”
Milly-Molly-Mandy was an immediate success and soon began to gain a strong following among readers. Joyce records that:
“. . . boys and girls began writing letters to the paper, to the editors and to Milly-Molly-Mandy herself, wanting to know more about her, asking, Could she come for a holiday by the sea? Could she have a baby sister to take out riding in the pram? (She couldn’t, as she was an ‘only’ child, but little-friend-Susan could, and did.) Some of the letters enclosed foreign stamps for Billy Blunt’s collection (so generous!). One boy wrote all the way from Australia to tell me that ‘Father’ was shown digging with his wrong foot on the spade (for it seems the left foot is the right foot for digging with!). I wrote back to thank him and promised to alter the drawing before it went into a book – as you may see I did, for it’s nice to get things quite correct.”
Joyce went on writing stories about Milly-Molly-Mandy for the rest of her life, but she wrote about other characters too, in books such as Marigold in Godmother’s House (1934) and Adventures of Purl and Plain (1941). She also illustrated stories by other authors and was specially chosen by her publisher, George Harrap, to draw the pictures for the first edition of Ursula Moray Williams’ Adventures of the Little Wooden Horse (1938).
Joyce always remained close to her sisters. Nina, who became the first and much-loved illustrator of the Chalet School stories by Elinor M. Brent-Dyer, was the only one to marry. Ethel died in 1961, and Nina and Joyce died within a few months of each other, in 1978.
Joyce Lankester Brisley seems to have been rather a shy person and she obviously didn’t like publicity. Once, after two of her pictures had been accepted by the Royal Academy and a journalist wanted to interview her, she telegraphed at once that she “would be out”. Maybe she was a bit like Milly-Molly-Mandy herself – happy to be busily getting on with whatever task or errand she’d set herself for the day, and content with whatever good fortune life might bring her.
Have you read
Have you read
Have you read
Books about Milly-Molly-Mandy from Macmillan Children’s Books
Milly-Molly-Mandy Stories
More of Milly-Molly-Mandy
Further Doings of Milly-Molly-Mandy
Milly-Molly-Mandy Again
First published by George G. Harrap 1948
This edition published 2018 by Macmillan Children’s Books
This electronic edition published 2018 by Macmillan Children’s Books
an imprint of Pan Macmillan
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Associated companies throughout the world
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ISBN 978-1-5098-4508-8
Copyright © Joyce Lankester Brisley 1948
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Milly-Molly-Mandy Again Page 6
