Recently I managed to acquire a copy of a poster-map I’ve been eager to take a closer look at: Pauline Baynes’ There and Back Again: Bilbo’s Journey through Eriador and Rhovanion (1971). Long-time collectors and scholars will of course be familiar with this poster, but as a younger (well, mid-30s) enthusiast, it wasn’t readily available and I had my own reason to study the map.
Before finding a copy of the map, I namely posed a question at a well-known online Tolkien forum, asking if anyone knew if Baynes consulted with Tolkien for the creation of There and Back Again. My question derived from the knowledge that Baynes’ earlier poster, Map of Middle-earth (1970), was produced in collaboration with Tolkien, “who sent her a marked photocopy of the general map, as well as additional names to include and advice on a few points of topography and nomenclature”. Could it therefore be that also the 1971 poster-map has some unique features that would be able to enrich our understanding of Middle-earth?
However, no one had a reply (or perhaps no one found the question interesting!) at the forum, and since none of my Tolkien-related reference works had anything to say on the subject, I decided to directly ask the foremost experts, Wayne G. Hammond and Christina Scull. They kindly replied (quoted with their permission):
“Tolkien seems not to have given Baynes any additions for the Hobbit map, or instructions except to concentrate on landscape rather than figures. He asked to approve the art before it went to press, and did so when Pauline and her husband visited Tolkien in Poole.”
While being grateful for an authoritative and informative answer to my question, it was of course also somewhat disappointing that the small “research project” undertaken for this blog post mainly yielded negative knowledge: it would likely be fruitless to look for additional pieces of information concerning the legendarium using the 1971 poster-map as a basis. Nevertheless, though, the illuminated map is a beautiful piece of art, created by “Tolkien’s illustrator of choice for his own works” – reasons enough for me to take delight in it!
Final Note 1: I find it interesting that Tolkien recommended Baynes to “concentrate on landscape rather than figures”. The statement sheds additional light on one of my older posts here (‘Tolkien and the Illustrations of Robert J. Lee’), where I argued (though likely not being the first to point out this aspect of Tolkien’s artistic preferences) that Tolkien’s own illustrations contains “very few actual portraits, and when people occasionally appear in a landscape, they are often very small and in the background” – perhaps one of the reasons why Tolkien disliked Lee’s pictures.
Final Note 2: At least two erros, concerning the spelling of place names, appear to occur on the 1971 map:
[for] River Gladuin [read] River Glanduin
[for] Dimril Dale [read] Dimrill Dale
Footnotes & References
 ‘In Memoriam: Pauline Diana Baynes’, in Tolkien Studies: Volume 6, p.vii.
 Hammond, Wayne G. & Scull, Christina, The Lord of the Rings: A Reader’s Companion (HarperCollins 2008), p. lxiv.
 Hammond and Scull are currently working on a biography about Pauline Baynes – a work in progress which they occasionally write about at their weblog: Too Many Books and Never Enough.
 Private correspondence (8 June 2013).
 Scull, Christina & Hammond, Wayne G., The J.R.R. Tolkien Companion and Guide: Reader’s Guide (HarperCollins 2006), p. 76.