The 50/50 Project: Celebrating 50 Years of the British Cartoon Archive

Posted on March 31, 2023 by Beth Astridge

Help us to select 50 cartoons representing 50 years of the British Cartoon Archive!

We are looking for volunteers to participate in a project to explore and select 50 cartoons from across the British Cartoon Archive collections to feature in an exhibition in the Templeman Gallery. The project will take place on Mondays, 11am-4pm, throughout June 2023. The exhibition will be on display from September to November 2023.

This is an opportunity to get hands-on with our cartoon collections and be involved with our celebration activities for the 50^th anniversary of the British Cartoon Archive. Volunteers will receive a tour of the collections, training in searching our catalogues and writing captions, and an opportunity to gain experience in selecting material and curating an exhibition. Remote participation is also available.

Get in touch with us for more information or to volunteer to take part. We would love to hear from you: specialcollections@kent.ac.uk

And now – enjoy a selection of cartoons from the British Cartoon Archive marking other 50th anniversaries!

Black and white cartoon of a mug with a royal crest and a central depiction of Queen Elizabeth II jumping on a bouncy castle with a corgi with a label above reading Children's Tea Party

Cartoon marking the 50th Anniversary of the Coronation of Queen Elizabeth II – Patrick Blower, “50th Anniversary Mug”, Evening Standard, 2nd June 2013. (Reference: British Cartoon Archive, Cuttings, 65815)

Black and white cartoon of a residential street with park gates, with Grandma, Vera, George Junior, Stinker and the twins (members of the Giles Family) standing on the pavement. George Junior is chaining Grandma's foot to the railings while she looks the other way.

“Fifty Years Ago…”- Giles cartoon featuring Grandma and Vera from the Giles Family, showing George Junior and Stinker chaining Grandma to the park gates as a prank. A poster held by one of the children notes the 50th Anniversary of Votes for Women. Ronald Carl Giles, Daily Express, 6th February 1968. (Reference: GAN1736)

Black and white cartoon titled Happy 50th Birthday Ikea..., showing a man drinking a glass of Moet champagne at Ikea HQ and another man reading instructions for how to drink: 1. Hold glass firmly in hand, 2. Empty Contents into mouth, 3. Swallow...

“Happy 50th Birthday Ikea” – Cartoon marking the 50th Birthday of Ikea in 2006. Neil Kerber and David Black, Daily Mirror, 30th June 2006. (Reference: British Cartoon Archive, Cuttings, 87975)

Black and white cartoon showing a poster on a wall reading Dr Who 50th Anniversary and a Dalek on a stair lift

“Dr Who 50th Anniversary” – Cartoon marking the 50th Anniversary of Dr Who in 2013. Matt [Matthew Pritchard], Sunday Telegraph, 24th November 2013. (Reference: British Cartoon Archive, Cuttings, 99878)

Colour cartoon showing Queen Elizabeth II drinking a glass of champagne with a man, below a poster reading "Blue Peter 50th Birthday Party". The Queen says "Who invited the elephant" and is depicted standing in a pile of elephant dung, next to one of her Corgis.

“Who invited the elephant?” – Cartoon marking the 50th Birthday of Blue Peter in 2008, depicting Queen Elizabeth II. Nicholas Newman, Sunday Times, 19th October 2008. (Reference: British Cartoon Archive, Cuttings, 90501)

Wally ‘Trog’ Fawkes (1924-2023)

Posted on March 9, 2023 by Clair Waller

We were very saddened to hear of the death of Wally Fawkes last week, who passed away at the age of 98 on Wednesday 1^st March 2023. Fawkes (also known by his pen-name ‘Trog’) was a revered cartoonist and illustrator with a talent for caricature and an instantly recognisable style. Johanna Fawkes said of her father, “He was warm, funny and thoughtful. Everybody adored him”.

Wally Fawkes

Walter (“Wally”) Ernest Fawkes was born in Vancouver, Canada on 21 June 1924. He moved to England with his mother, siblings, and stepfather in 1931. He loved comics from a young age and from the age of 14 studied at Sidcup Art School for a short time before the outbreak of war in 1939. During the war, Wally worked at Woolwich docks, painting camouflage on factory roofs in an effort to protect them from bombing. This effort was not rewarded as the docks were flattened during the blitz in 1940. Wally did not serve in the war due to a bout of pleurisy, instead working for the Coal Commission tracing maps.

Fawkes’ artistic talent was discovered in 1942 after he took part in an art competition at work that was judged by the Daily Mail’s political cartoonist, Leslie Illingworth. Illingworth was impressed and got him a job drawing for the Clement Davies advertising agency. Then in June 1945 on Fawkes’ twenty-first birthday Illingworth found him a job at the Daily Mail, where he was tasked with creating decorative illustrations and column breakers.

A photograph of Fawkes at his drawing desk

Fawkes married journalist Sandy Boyce-Carmichelle in 1949, with whom he went on to have four children, Johanna, Kate, Sarah and Jamie. Sadly, Sarah passed away at a young age. Wally and Sandy were divorced in 1964, but Wally found love again with Susan Clifford, who he married and had two more children with, Lucy and Daniel.

In 1949, the Daily Mail’s owner, Lord Rothermere, asked Fawkes to illustrate a cartoon strip, ‘Flook’. Originally created by Douglas Mount in 1949, the strip ran for 35 years in the Daily Mail before moving to the Mirror in 1984, and featured many writers throughout its lifetime.

FO0025, [No caption], Daily Mail, 25 Apr 1949. ©Associated Newspapers Ltd. / Solo Syndication

The name of the strip was originally named after its redheaded character ‘Rufus’, but this was quickly changed to ‘Rufus and Flook’, before finally becoming known as simply ‘Flook’. By the early 1950s, the strip was one of the Daily Mail’s most popular features, and was syndicated to the United States and New Zealand.

A Flook model hiding in the archives

When the news broke that Fawkes was leaving the Daily Mail in 1984, the Daily Mirror signed him up, with Flook transferring to them in that October. They announced the transfer with the following cartoon:

38393, [No caption], Daily Mirror, 19 Nov 1984. ©Mirrorpix

An accomplished clarinet player, the pen name ‘Trog’ comes from one of Fawkes’ early jazz bands, ‘The Troglodytes’. Fawkes went on to play in the ‘George Webb Dixielanders’ with trumpet player and fellow cartoonist Humphrey Lyttleton in 1944. Later they co-founded ‘Humphrey Lyttleton and His Band’ in the late 1940s. Fawkes left Lyttelton’s band in 1956, but continued to play with various groups throughout his life. In the late 1950s he established a jazz club night at the Six Bells, Chelsea with fellow musician Jim Goldbolt that became known as ‘Trog’s Club’.

When Illingworth retired in 1969, Fawkes took his position as political cartoonist at the Daily Mail. However, this position did not last long, with Fawkes being replaced with Stan ‘Mac’ McMurtry in 1971 when David English took control of the paper. During his career, Fawkes drew for many publications, notably the Observer and Punch, but also the Spectator, New Statesman, Sunday Telegraph, Today, London Daily News, and Private Eye.

WF0113, [No caption], Sunday Telegraph. ©Telegraph Media Group Ltd

Fawkes was one of the founding members of the British Cartoonists’ Association, established in 1966, alongside Kenneth Mahood and John Jensen. He was twice the winner of Granada TV’s ‘What the Papers Say’ Cartoonist of the Year Award, the US Cartoonists’ and Writers’ Syndicate World Award 1976, International Political Cartoonist of the Year (1976), CCGB Humorous Strip Cartoonist of the Year (1981), CAT Caricaturist of the Year (1997) and the CAT Lifetime Achievement Award (1997). In 2001, Fawkes received an Honorary Doctorate from the University of Kent.

Fawkes retired from cartooning in 2005 at 81 as his sight began to fail, after 62 years in the business. His work continues to be popular today; the Cartoon Museum in London held an exhibition of his work in 2013, and the University of Kent’s British Cartoon Archive continue to make his work available to researchers, students and enthusiasts alike. His work was admired not only by the public, but also by his contemporaries.

“…there is an astonishingly sharp focus…particularly in the caricature, which makes the characters seem larger than life, as if seen under a brilliant light and a powerful lens…his blacks seeem to be blacker than black” Raymond Briggs[1]

“Very few artists can see a likeness the way he can, and catch it so completely. He doesn’t develop a hieroglyph for each politician and then simply reach for it each time it is needed. Every Trog caricature is carefully recrafted.” Nicholas Garland[2]

Wally by Flook, Daily Mirror, 16 Nov 1984. ©Mirrorpix

The British Cartoon Archive’s Fawkes Collection includes almost 3500 original artworks, 6600 original Flook strips, over 5000 cuttings and even one of the orange plastic squeaky Flook toys marketed by the Daily Mail. For a full biography, please see https://www.cartoons.ac.uk/cartoonist-biographies/s-t/WallyFawkes_Trog.html.

[1] Trog : Forty Graphic Years – the art of Wally Fawkes (introduction and commentary by Frank Whitford; foreword by Raymond Briggs), London: Fourth Estate, 1987, 191pp.

[2] Nicholas Garland “Undimmed, inimitable Trog”, Sunday Telegraph, 20 June 2004, Review p.7.

Special Collections and Archives highlights: 2022 edition

Posted on December 20, 2022 by Clair Waller

Yet again 2022 has been a year packed with activity and fun! We’ve seen a number of changes for the Special Collections and Archives team; adapting back to life on campus, welcoming new colleagues, fully reopening our Reading Room service post-pandemic, and embarking on new projects. We’ve also had a bumper year for volunteers, who have been working with our theatre collections, British Cartoon Archive, and medieval and early modern manuscripts.

As is tradition, it’s time for us to take a step back, reflect on what we’ve achieved, and tell you about some of the highlights…

Karen (Special Collections and Archives Manager)

It’s been an exciting year in special Collections and Archives. We’ve seen a number of changes in our team. In February we welcomed Beth Astridge to the role of University Archivist – you’ll recall that Beth was our project archivist for the UK Philanthropy Archive so it was exciting to be able to welcome her to a fulltime position. Beth has made her mark already in organising and delivering some excellent projects – you can read more about that in Beth’s section. We welcomed Rachel to our team on secondment from the Collections Management team. Rachel is working parttime as the project archivist for the UK Philanthropy Archive continuing the amazing work Beth was doing. In the spring we said goodbye to Jo, who worked as our Senior Library Assistant for almost a decade. Jo now has a fabulous job in London – though she still finds time to pop in and see us occasionally! In the summer we welcomed Christine in Jo’s place. Christine is now firmly established as our Special Collections and Archives Coordinator. Christine is doing a brilliant job of curating already established and new content for seminar groups as well as assisting with the research and selection for our latest exhibition 100 Years: T.S. Eliot’s The Waste Land.

A poster advertising our Eliot exhibition, featuring a cartoon by John Jensen of Eliot in profile (JJ0584).

Clair and I had great fun meeting and working with Major and Mrs Holt to prepare their Bairnsfather Archive for addition the British Cartoon Archive – see Clair’s piece for a taste of what we have. We are also working on acquiring some other significant cartoon archives in the next year – which is especially thrilling as in 2023 we celebrate 50 years of Cartoons at Kent! Watch our social media for more details soon.

Mandy has been beavering away making sure our cuttings collection is kept up to date as well as digitising the beautiful photographs of Canterbury that we acquired a few years ago. You can see some in examples in Mandy’s section below.

Digitisation work has moved forward in a huge way this year. The Phase One kit is now fully functional and being put to good use – see what Alex and Matt have to say below for the latest from them.

We’ve also been lucky to tempt our former colleague Jacqueline back to the fold – Jacqueline has been working as a project cataloguer to get the books from Carl Giles Archive catalogued. Many of the books are now available on our online catalogue with more to follow in the New Year.

Earlier this year we received a small grant from UKRI AHRC to support some new collaborative research. We were delighted to work in partnership with our colleagues at the University’s School of Arts, Professor Helen Brooks and Dr Oliver Double, with Helen being primary investigator and Olly and myself acting as co-investigators. As a group, we were particularly interested in exploring representations of gender in popular performance, giving us the opportunity to contribute to the discourse on gender expression and new audiences with diverse, inclusive histories of performance and gender.

A handmade poster featuring images of Hetty King, Dan Leno, and a costme design for a Principal boy, along with text advertising the event.

Poster for the ‘Beyond the Binary’ project

Beyond the Binary: Performing Gender Now and Then, brought together students, public researchers, performance-makers, archivists and academics from all backgrounds and from across the gender spectrum to undertake original research into our historic music hall and pantomime archives. They worked together on line to unearth histories of gender play and presentation hidden within the collections.

The research group also had the opportunity to spend a day in Special Collections and Archives and helped us to deliver a day at the Beaney Museum.

The final event of Beyond the Binary took place on Thursday 29 September, with a spectacular show, Rowdy Dowdy Boys and Saucy Seaside Girls at the Gulbenkian Arts Centre, Canterbury. The event brought together music, comedy and history. This new performance-lecture was co-created with non-binary folk performers, the Lunatraktors and featured comedian Mark Thomas. The Lunatraktors created new work inspired by items in the collection, which were displayed on a screen and on the stage – including comedy boobs, which were displayed on a specially made stand (adapted from a music stand) alongside one of the pantomime Dame costumes worn by Eddie Reindeer. Mark Thomas performed a hilarious piece he had written on the day – again inspired by the collections.

An image of two songsheet covers. On the left is Mille Hylton, 'The rowdy Dowdy Boys'. On the cover stands mille Hylton in a full suit and top hat. On the right is Hetty King's, 'Oh! Those girls! (those saucy seaside girls)'. On the cover we see a photograph of Hetty King, standing wearing a full suit and hat, and holding a walking cane.

Two songsheets: Mille Hylton, ‘The rowdy Dowdy Boys’; Hetty King, ‘Oh! Those girls! (those saucy seaside girls)’

This year we were also delighted to succeed in our bid for the Archives Revealed Cataloguing Grants scheme. Our cataloguing project –Oh Yes It Is! – will be starting early in the New Year and will continue throughout 2023. The funding award will make an enormous difference in how we make the David Drummond Pantomime collection accessible to everyone. We will unlock its potential for researchers, historians, performers, and all those interested in the history of theatre and pantomime. We can’t wait to get started!

A small pile of 12 theatre programmes on a white table.

Some items from the David Drummond Pantomime Archive

Stop the Press! We’ve also just heard that in the New Year we will be receiving material from the first British Muslim pantomime Cinder’Aliyah. I can’t wait to share more news about it with you all when we have the details.

I think 2023 is also going to be filled with activity and fun!

Beth (University Archivist)

2022 has been my first year as University Archivist, as well as finishing off a few projects relating to the UK Philanthropy Archive, so there has been a lot going on!

Highlights of the work on our philanthropy collections include researching and installing the ‘Exploring Philanthropy’ exhibition which was up from April to November and allowed us to display items from the UK Philanthropy Archive for the first time and introduce visitors to the history of philanthropy; welcoming Fran Perrin to the University to deliver the second Shirley Lecture on open data and philanthropy; and presenting at the Association of Charitable Foundations conference in November 2022, alongside Felicity Wates (Director of the Wates Foundation) and Sufina Ahmad (Director of the John Ellerman Foundation) about the value of projects that reflect on the history of trusts and foundations with some ‘how to’ tips about dealing with your archive records. A lovely celebration to finish the year was that Dame Stephanie Shirley – the founder of our UK Philanthropy Archive – visited Canterbury to receive her honorary degree. It was my first Canterbury Cathedral gradation, and it was wonderful to experience it with Dame Stephanie!

A photogrpah of Fran Perrin delivering a speech in front of an audience. Fran stands in front of some windows wearing a red top and black blazer. The audience sit on chairs and face away from the camera.

Fran Perrin delivering the second Shirley Lecture, ‘Open Data and Philanthropy’

In University Archive work, I managed a team of amazing student interns who worked on a survey of the paintings, sculpture, photographs and other artworks on display in the College buildings. This survey led to some new acquisitions to the University Archive as we explored the Colleges! We located the archive records of Rutherford College and also some of the records relating to the early days of Darwin College. These have now been added to the University Archive collection and I’ll be looking at cataloguing the Eliot, Rutherford and Darwin College archive collections later in 2023.

We have put on some fantastic exhibitions this year which definitely deserve a mention in this summary. In June, with funding from the Migration and Movement Award Fund, we installed the exhibition ‘Reflections on the Great British Fish and Chips’ after working with a Research and Curation Group of volunteers, and our colleague Basma El Doukhi, who explored the collections and co-curated a display of original material looking at themes relating to migration, movement, global food production and the fishing industry.

A photograph of a small group of people standing in the Templeman Library gallery space, looking at the exhibition.

The launch event for the ‘Fish and Chips’ exhibition.

With further funding from The National Archives’ Archives Testbed Fund we recently held a brilliant sensory event – Taste the Archive – where were hosted a food sharing viewing of the exhibition where we tasted fish and chips, falafel, ma’amoul, hummous and Arabic breads – all of which are featured in the exhibition. It was lovely to share food and learn more about other traditions and cultures in this sensory way.

A photograph of six people crowded around a table of various foods.

The ‘Taste the Archive’ event

We ended the year with a new exhibition celebrating 100 years since the publication of TS Eliot’s The Waste Land. This is a great exhibition featuring some unique items from across the collections so come along and see it before April 2023!

Clair (Digital Archivist)

This year seems to have gone by so quickly; it’s a little hard to come to terms with the fact that we’re already writing our highlights of the year! Nevertheless, here we are in December.

This year I had the pleasure of surveying and accessioning the Holt Bairnsfather Collection. Major Tonie and Mrs Valmai Holt are a couple who live in East Kent. They founded Major and Mrs Holts Battlefield Tours in 1978, offering tours to the public of famous battlefields across the world, before becoming authors. Together they have published over 30 books, including a biography of Bruce Bairnsfather. Their passion for Bairnsfather began in the 1970s, and since then they have amassed an extensive collection of Bairnsfather memorabilia, artworks and collectables.

Left: Major Tonie and Mrs Valmai Holt with their publications. Right: some publications from the Holt Bairnsfather Collection.

Tonie and Valmai welcomed Karen and I into their home to assess and survey the collection, before we listed and packaged it up for the archive. It includes pottery, china, books, journals and magazines, ephemera, metalware, sketches and artworks. An incredible collection, it really gives an insight in to the impact of Bairnsfather’s work and the popularity of Old Bill and the Better ‘Ole, even some 60+ years after his death.

A comparison of Bruce Bairnsfather’s ‘Well, if you knows of a better ‘ole, go to it’ (A Fragment from France, 24 November 1915) and Martin Rowson’s ‘Great War Studies – Module 8’ (Guardian, 06 Jan 2014. ©Martin Rowson, MRD0392)

We will continue to sort and organise the collection and hope to be able to add it to our catalogue in detail over the next year. 2023 brings the 50th anniversary of the British Cartoon Archive, and I’m sure this collection will play an important part in celebrating its continued value, and historic significance.

A cartoon in the style of Leonardo Da Vinci's 'Last Supper', but the characters have been replaced with the Giles family at Christmas dinner.

Ronald Carl Giles, ‘Well, if you know of a better hole to spend Christmas, go to it!’, Sunday Express, 1954. ©Express Syndication Ltd (GAC0102)

We’ve also made some positive steps this year towards improving our digital storage capacity and structure, after experiencing some challenges over the last few years with third party storage and disparate SAN locations. This work will have a real impact on our ability to continue to preserve and protect our digital and digitised collections in a robust and standardised way.

Christine (Special Collections and Archives Coordinator)

The greatest joy for me this year has been in planning and delivering diverse workshops in Special Collections and Archives to support graduate skills training and taught UG and PG modules. Over the course of 11 different sessions, I had the opportunity to meet and work with 135 students from the University of Kent and beyond, whose engagement with our materials established new insights and lines of enquiry.

Delving deeper into the archives of Monika Bobinska and Josie Long – two stand-up comedians and comedy club managers – I got to appreciate the home-spun and community-driven nature of their endeavours. These were/are truly pioneering women in their sector who cultivated emergent talent by emphasising inclusivity and creative freedom. Their clubs – respectively, the Meccano Club and the Lost Treasures of the Black Heart – provided space for experimental performance and audience participation. Just look at these charismatic felt audience contributions representing stops on the London Underground…

A collage of contributions from audience members. They are paper based and very colourful, including handmade images of a house, and another of Bow Church.

Creations that represent areas of London where audience members live (BSUCA/JL/2/6/4/4)

And this unassumingly pub-battered, pint-stained, contacts book that lists the crem de la crem of the alternative cabaret circuit – from Jo Brand to Mark Thomas.

A photograph of the front cover of a black notebook with a sticker in the top right corner noting 'Cabaret'.

A contact books for the Meccano Club with contacts for comedians, agents and venues (BSUCA/MB/1/1/6)

Another collection I’ve particularly enjoyed getting to know this term is our Modern Firsts Poetry collection, which boasts an astonishing variety of rare small press items and even unpublished proofs from British and American poets of the 20th century. Some of our wonderful volunteers have worked on repackaging this collection this term in order to better preserve the more delicate items – many of which are loose leaves, single sheets, or folded or bound in intriguing ways. This hands-on work has enabled us to not only improve our catalogue records and archival practice, but also to uncover some truly unique items. With examples that are at once abstract and incredibly tactile, this collection surely epitomises Modernist aesthetics and critical thought; ‘these fragments I have shored against my ruins’ testify, too, to the enduring legacy of T.S. Eliot – check out our current exhibition celebrating the centenary of The waste land!

Rachel (Project Archivist)

This year I moved into the role of project archivist for the UK Philanthropy Archive here at Kent, so a highlight for me was learning about the amazing collections we hold! This year saw us add two new collections to the Philanthropy Archive – those of the Wates Foundation and Craigmyle Fundraising Consultants.

The Wates Foundation archive is our first collection from a fully family run organisation. The organisation was first set up by three brothers, Allan, Norman and Ronald Wates. The Foundation has three family committees, one for each of the brothers, which means that the work they support is hugely varied. The archive contains project files for each organisation the Foundation has supported, ranging from city farms, to local sports teams, to crime and drug rehabilitation. There is also a wide range of literature and media outputs from these projects.

A photograph of four items from the Wates archive, including 2 VHS tapes, and 2 DVDs.

Four items from the Wates Foundation Archive

The Craigmyle Archive is a fascinating one, looking at philanthropy and fundraising from a different perspective from our other collections. Until now all our material has been from philanthropists themselves, whereas Craigmyle are professional fundraisers, working with charities and organisations who are looking to fundraise for projects. The company was founded in 1959, at a time where professional fundraising in the UK was basically non-existent. Their early focus was on supporting fundraising for schools, and there is a huge amount of material relating to all the work they have done in that area. The collection even has records of their work with other people who feature in our archive, such as Dame Stephanie Shirley, our founding donor! Clients supported by Craigmyle include Salisbury Cathedral, St. Paul’s School for Boys, Macmillan Cancer Relief, Kingston Theatre Trust and The Woodland Trust, to name just a few. This is by far the biggest collection the Philanthropy Archive has taken in yet, and a dedicated archivist will be being employed to work with it next year, so watch this space!

Outside of the collections, my highlight for this year has definitely been attending the degree congregation at Canterbury Cathedral last month where the University of Kent awarded Dame Stephanie Shirley an honorary degree.

A photograph from the graduation ceremony. The image shows the following people standing together in a group (left to right): Dr Beth Breeze, Dame Stephanie Shirley, Rachel Dickinson, Beth Astridge.

A photograph from the graduation ceremony. Left to right: Dr Beth Breeze, Dame Stephanie Shirley, Rachel Dickinson, Beth Astridge.

I graduated from Kent in 2012, but this was my first time seeing a ceremony from the other side. Canterbury Cathedral is such a lovely setting for a graduation ceremony, it feels appropriately grand for recognising all the work put in by our students to achieve their degrees. This was also my first time meeting Dame Stephanie in person. We discovered it was honorary degree number 31 for her, but she was still incredibly grateful for the recognition and genuinely had a wonderful time in a glorious setting. The speech she gave referenced her support of the University, including her ties to our archive and her work with the Tizard Centre, and her message to all our graduands was heartfelt and really well received.

Matt (Digitisation Manager)

As Alex has alluded to below, after the install and learning phase of 2021, 2022 has been the year of the Phase One. It’s made a huge difference to our digitisation abilities as we’ve learnt to make the most of the whole system. As we progress with our pre-planned projects we’ve started to consider what it can do for us in the next years and the other collections we can digitise. When looking at collections we’ve had for years it’s exciting to have a new perspective on them now that we can digitise them in such amazing detail.

We’ve also spent some time in the last few months refurbishing a new space for our digitisation systems so that we can bring it all into one custom space, (and also so that we can finally relinquish half of the Special Collections work room back to our colleagues). We’ll be moving in at the start of next year.

A photograph of an empty room, with concrete walls , with white shelves high up on the wall.

Our new digitisation space in the Templeman Library

Earlier in the year we completed a project assessing our preservation and access systems for our digital collections which means next year we can move forward into testing and hopefully acquiring a new system that will mark a significant step forward in our digital offering to users of our various services.

Mandy (Special Collections and Archives Assistant)

Here are a few photos that I have been lucky enough to scan over this past year.

three images left to right: A black and white photograph of a delivery van parked up on a road, with the load on the back of the van spilling over in to the street. A black and white photograph of an elephant being paraded through Canterbury High Street. A man walks in front of the elephant, talking to a policeman in uniform riding a bicycle. A black and white photograph of a garage with a van in the driveway.

Three photographs from the Crampton Canterbury Photograph Collection

They are from our Crampton Canterbury Photograph Collection, and show how much Canterbury has changed throughout the years.

Alex (Digitisation Administrator)

2022 has seen the new Phase One photographic reproduction rig come into its own. Alongside colleagues Matt and Clair we developed efficient work processes for the digitisation of artwork and objects within the collections. Once we had the rig up and running in early February the main focus has been on the Beaverbrook Collection of cartoon artwork. The Beaverbrook collection is significant, containing original cartoon artwork by major cartoonists published in some of Britain’s leading newspapers from the 1930s through to the 1960s. To date we have captured around half of the entire collection, over 4000 high-definition images. I’ve found it a fascinating process, particularly the insight it provides to the day to day “talking points” during a turbulent period of global history.

David Low, 'The Nightmare Passes', Evening Standard, 8th May 1945 (DL2416)

A David Low cartoon from the Beaverbrook Collection, ‘The Nightmare Passes’, Evening Standard, 8th May 1945 (DL2416)

In the audio-visual domain, I completed the digitisation the University of Kent Archive collection of vulnerable analogue magnetic audio cassette tape recordings in the first part of 2022. Since then, I have moved on to digitise of a number of smaller audio cassette collections within the greater Special Collections and Archives stores. These have included recordings from the British Stand Up Comedy Archive, the Ronald Baldwin local history collection and the R. W. Richardson collection of recordings relating to the 1980s Miners’ Strike, particularly in East Kent.

A photograph of a cassette tape, lying on top of its case. Behind it is an audio deck used for digitisation.

One of the many audio cassettes Alex has digitised this year!

Most recently I have been digitising a series of interview recordings carried out by the University’s Dr Philip Boobbyer. The interviews were conducted during the 1990s in post-Soviet Russia. The subjects of the interviews were various activists and dissidents from the Soviet period. The content has particular contemporary relevance in light of the Russian invasion of Ukraine.

Jacqueline (Project cataloguer)

I am cataloguing the personal library of Giles the cartoonist kept within his archive in the British Cartoon Archive. The library shows Giles’s distinctive set of interests reflecting both his work as a cartoonist and home life near Ipswich in Suffolk. He indexed books with coloured drinking straws to mark images that he might use as references. His collection of works of cartoons from the two world wars, together with contemporary photographic books give a poignant insight into lived experience of those events.

A photograph of books from the Giles library on a shelf.

An image of books from the Giles library

There are sections on farming, on architecture, sailing and ships and series of how to draw books, I-Spy books and even an Argos catalogue. The mix of ideas for cartoons and his everyday life appears here in his copy of ‘Teach yourself brickwork’ with “Lady Diana” written the other way up on his plan for a brick wall with measurements inside the front cover.

A photograph of a book open to the front page. Inserted in the book is a piece of paper with an image of a brick wall drawn in red pen, alongide some measurements.

An image of the inside of ‘Teach yourself brickwork’ with an inserted note inside

Music in the Archives: A whistle-stop tour through our collections (part three)

Posted on June 10, 2021 by Joanna Baines

Welcome to the third and final part of our mini series exploring all things musical in Special Collections & Archives – just in time for Kent’s Summer Music Week! Today we’re stepping into the modern age with pantomime and stand-up comedy; what more could you want on this glorious Thursday?

Pantomime: celebrity, pop culture and the power of music in storytelling

Just as melodrama and popular Victorian entertainments use music in conjunction with other theatrical effects, so pantomime develops the use of music with visual storytelling even further. At Kent, our pantomime material can be found in the incredible David Drummond Pantomime Collection alongside lots of material in our previously mentioned Melville and Pettingell archives.

Programme for Drury Lane Theatre's 1899/1900 Pantomime 'Jack and the Beanstalk' with photograph of star Miss Mabel Nelson

Programme for Drury Lane Theatre’s 1899/1900 Pantomime ‘Jack and the Beanstalk’ (David Drummond Pantomime Collection)

Pantomime’s links with music go all the way back to its origins in the 16th century ‘commedia dell’arte’ Italian entertainment with stock characters; when the stories initially began to appear on the British stage in the 18th century performances would have no speech at all – just music. (This was in part due to theatre licensing regulations restricting the use of speech in performances, overturned by the Theatres Act in 1843.) Fast forward to the 19th century and pantomime became an incredibly lavish affair for many theatres, particularly for London’s Drury Lane theatre which became known for its elaborate, expensive performances which lasted as long as five hours!

Cover for sheet music of 'Beauty and the Beast: A Chamber Opera' with five illustrations

Cover for sheet music of ‘Beauty and the Beast: A Chamber Opera’ (David Drummond Pantomime Collection)

Sheet music from ‘Beauty and the Beast: A Chamber Opera’ (David Drummond Pantomime Collection)

Music, of course, is one of the most consistently integral parts of the pantomime genre, from libretti (which you could often buy as a souvenir of the performance) to audience participation. Many songs used in pantomime are familiar to their audiences and often have lyrics rewritten for a particular show. Sometimes theatregoers are encouraged to sing along and participate, with the music helping to give pantomimes a very two-way performance between its stars and the audience.

Poster for the pantomime ‘Sleeping Beauty’ at the Manchester Palace theatre starring comedians Morecambe and Wise (David Drummond Pantomime Collection)

Poster for the pantomime ‘Aladdin’ at the London Palladium theatre, starring Danny La Rue (David Drummond Pantomime Collection)

Today, we generally associate pantomime with famous stars – but did you know this, too, has musical links? In the 19th century music hall stars began to join pantomime performances – partly to bring in new, younger audiences and partly to add some celebrity glamour to the show! This trend has continued through the 20th century and up to today, with debates about whether this ‘ruins’ pantomime ever-present.

The British Stand-Up Comedy Archive: the next evolution of music hall and challenges for archivists

We couldn’t finish a tour of all things musical without stopping in at the 20th/21st century wonder that is our British Stand-Up Comedy Archive (known as BSUCA for short because we all love an acronym). Created in 2015 and funded through the University’s Beacon projects to celebrate Kent’s 50th birthday, six years later BSUCA contains over 30 different collections and it’s still growing.

What’s particularly brilliant about BSUCA is that for an archive about what initially appears to be a fairly niche subject, it packs one heck of a research punch. Topics it covers include the history of performance, artists and venues, Thatcher’s Britain and the miner’s strike, protest, counter-culture, publishing, audience interaction, celebrity and much more. So – are you surprised that it’s also a great source for all things musical? You shouldn’t be!

Flyer advertising the Alternative Cabaret collective (Andy de la Tour Collection, BSUCA/AT/3)

Stand-up comedy as a genre has its roots in both popular performance and variety. Tony Allen’s stand-up comedy developed in part during his time with the Rough Theatre group, whose plays included rewritten gags from music hall shows. The Alternative Cabaret collective (which included Tony Allen, Alexei Sayle, Jim Barclay and Andy de la Tour) performed shows that lasted several hours and included musicians and comedians working together. The links between music hall and stand-up don’t end there: CAST New Variety, a left-wing theatre company founded by Roland and Claire Muldoon, was also responsible for helping to save the Hackney Empire music hall in late 1986 by using it for gigs.

Poster for CAST New Variety night entitled ‘Reds under the bed’, 1985 (Linda Smith Collection, BSUCA/LS/3/1/1)

When the 1980s Comic Strip group began performing, academic Olly Double notes that several publications compared their gigs as doing to comedy what punk did for the music world (2020, pp.32 – 33). This comparison is further strengthened by the fact that they released an LP:

Poster, 1980. Originally a venue, The Comic Strip collective quickly embarked on a national tour, released an LP and produced TV series “The Comic Strip Presents…” (Arnold Brown Collection, BSUCA/AB/2/1)

All of this music inevitably leads us to questions about how we look after such material. Caring for music archives is a lot of fun but it can be tricky! Fortunately preserving most paper-based material such as song sheets and play scripts is a relatively straightforward process (acid free boxes + stable temperature and humidity = happy collections). However, audiovisual material (LPs, videos, CDs, cassette tapes) is generally incredibly sensitive to environmental changes not to mention the rapid development of technology that renders media obsolete relatively quickly. So for us, managing audiovisual material is one of our key priorities at the moment; it involves knowing what material we have and in which formats and then working to prioritise items most at risk. You can read more about how we transfer collections from audiovisual to digital here.

One thing is certain though: these days music is just a big a part of our culture as it’s ever been, whether we listen to the radio, stream music online, or enjoy it as part of live performance. And as long as it continues to be such a large influence on our lives, we’ll continue to collect material on how it’s used in popular culture!

We hope you’ve enjoyed this mini-series about music in Special Collections & Archives; do visit our website for more information on the collections and if you have any queries please drop us a line (specialcollections@kent.ac.uk).

Sources:

Pantomime:

Anderson, Gillian B. “Synchronized Music: The Influence of Pantomime on Moving Pictures.” Music and the Moving Image, vol. 8, no. 3, 2015, pp. 3–39. JSTOR, www.jstor.org/stable/10.5406/musimoviimag.8.3.0003. Accessed 7 June 2021.

Mitchell, G. (2017). ‘Mod Movement in Quality Street Clothes’: British Popular Music and Pantomime, 1955–75. New Theatre Quarterly, 33(3), 254-276. doi:10.1017/S0266464X17000306

‘The Story of Pantomime’ at the V&A Museum: https://www.vam.ac.uk/articles/the-story-of-pantomime

BSUCA:

Double, Oliver. Alternative Comedy : 1979 and the Reinvention of British Stand-Up, Bloomsbury Publishing Plc, 2020. ProQuest Ebook Central, https://ebookcentral.proquest.com/lib/kentuk/detail.action?docID=6120964.

Music in the Archives: A whistle-stop tour through our collections (part two)

Posted on June 9, 2021 by Joanna Baines

Welcome to part two of our mini series exploring all things musical in Special Collections & Archives – just in time for Kent’s Summer Music Week! Today we’re delving into all things Boucicault and Melville and having a look at some of the amazing art held in the British Cartoon Archive…

Theatre collections part two: Boucicault’s brilliant box-office hits

Ah, Boucicault. The great thing about theatre people is that their history is just as interesting as their works, and the Victorian playwright’s life really is no exception. Bankruptcy? Tick! Extravagant legal battles over copyright of his works? Tick! Affairs and scandal? Tick!

Title page of a Penny Pictorial edition of Dion Boucicault's play The Colleen Bawn, showing the famous drowning scene

Title page of a Penny Pictorial copy of the play “The Colleen Bawn” by Dion Boucicault, undated (PETT BND 126.33)

Front cover of a Penny Pictorial Play Book of ‘The Colleen Bawn’ by Dion Boucicault, featuring a colour illustration of a scene from the play (BOUC/PHO/0648577)

Drama aside (if that’s possible), Boucicault was arguably one of the most popular writers in the nineteenth century. His plays were immensely popular, in part because they nearly always contained a visual spectacle designed to draw audiences to the box office. In an age before movies and TV, it was a pretty thrilling thing to see – for example – someone nearly drowning in a cave, almost being run over by a train, or a burning house – on stage literally in front of your eyes. But what is possibly less well known about Boucicault is how he was one of the first playwrights to incorporate music specifically written for his works in the theatre; in The Colleen Bawn, not only does the music play alongside dialogue but it actually changes with each line. The music itself was so popular that it was still being loaned out over twenty years after the play was first staged in 1860.

Cover for sheet music accompanying the play "The Colleen Bawn" by Dion Boucicault, c.1861, featuring the famous drowning scene

Cover for sheet music accompanying the play “The Colleen Bawn” by Dion Boucicault, c.1861 (CALB/COL/MUS/LDN ADL/F190364)

Boucicault’s use of music in his melodramas also massively helped ease critics into greater support for orchestras on the ‘proper’ theatre stage, showing that drama could extend beyond well-written words into a more complete theatre experience.

The British Cartoon Archive: more than just politics

Our British Cartoon Archive is best known for its vast collection of social and political cartoons across the 19th and 20th centuries, so it’s hardly a surprise to discover that music pops up fairly regularly as well. A quick search on our catalogue for ‘music’ returns 146 results! Sometimes music and entertainment is a beautiful hark back to previous times, like in this David Low cartoon from 1954 where the current political situation is reimagined as a music hall variety night:

Cartoon by David Low comparing the current political situation to a night of music hall entertainment

“Music-hall situation” by David Low in The Manchester Guardian (28 May 1954, LSE4654)

Occasionally nursery rhymes become mischievously reimagined for contemporary comment, such as in Leslie Illingworth’s retelling of ‘Baa Baa Black Sheep’:

Cartoon by Leslie Illingworth showing Harold Macmillan as a shepherd in a field of sheep, with one black sheep leaping off to the side

“He’s a poor little lamb who has lost his way, Baa! Baa! Baa!
The little black sheep who has gone astray, Baa! Baa! Baa!
Gentleman Tory off on a spree, D—-d from here to eternity,
Lord have mercy on such as he, Baa! Baa! Baa!
With acknowledgments and apologies to the Whiffenpoof song, published by the Magna Music Co. Ltd.” (Leslie Illingworth, 21 March 1962 for the Daily Mail, ILW3486)

The most regular culprits are – of course – the early 20th century cartoonist W.K. Haselden and the wonderful Carl Giles. For Haselden, whose work in the Daily Mirror tended to look at societal changes as well as political events and wars, the inclusion of music is hardly a leap. Famous for his sketches of actors in Punch and repeated forays into women’s fashion and roles in society, music is another way in which Haselden pokes fun at everyday people and trends:

Cartoon by W.K. Haselden showing the different types of music that would entertain railway commuters

“Music for the Railway travellers” by W.K. Haselden, published in the Daily Mirror on 04 October 1907 and 20 September 1911 (WH0614)

Cartoon by W.K. Haselden showing the excesses of combining musical performance with food

“Music at meals: Meals at music – a parallel” by W.K. Haselden, published in the Daily Mirror on 17 March 1914 and 19 February 1918 (WH0895)

In Carl Giles’ world music is somewhat of a nuisance, especially when it comes to small children attempting to avoid piano lessons:

Cartoon by Carl Giles showing the many different places toffees can be hidden to distract from piano lessons

“IN THE GILES FAMILY there is a theory among the children that the more toffee they get on the piano the quicker they get their music lessons over – you press one note and they all go down together. I offer this simple sweets-are-now-off-the-ration guide to parents who, during the more or less sweet-free years, may have forgotten the trouble spots.” (Carl Giles, 7 February 1953 for the Daily Express, GA0825)

Music is also a huge source of mischief in Carl Giles’ land, as seen by this 1959 cartoon:

Cartoon by Carl Giles showing a group of soldiers being told off for inserting a mischievous page of music into the official performance

“It is reported that during band practice for the forthcoming visit by Chancellor Adenauer you did wilfully insert one page of ‘Colonel Bogey’ into the band’s music for ‘Deutschland Uber Alles’.” – Carl Giles for the Sunday Express, 15 November 1959 (GA1601)

As you are probably aware, our British Cartoon Archive is such a vast, wide-ranging collection that it’s definitely worth an hour of your time exploring all things musical via the online catalogue. Have fun!

Theatre collections part three: enter the Melvilles stage right

One of the many SC&A hills I am prepared to die on is this: the Melville family, whose complete archives we hold, is criminally underrated in the theatre history world and more people should know about them and love their work. A dynasty of thespians (you can find a brief Twitter-friendly summary of them here), the Melvilles managed several important theatres (including the Theatre Royal Brighton, the Lyceum and the Prince’s / Shaftesbury in London) at the turn of the 19th / early 20th century. But their love of all things drama extended far beyond managing as they wrote and acted in plays as well.

Image containing sepia-toned photographs of the Melville family

The Melvilles are probably best known for their Bad Woman plays, popular in the early 20th century. The Bad Woman plays are interesting in several ways: they became well known during a time when melodrama as a genre was beginning to wane in theatres, but they also spoke to concerns in early Edwardian society – particularly the role of women during the suffrage movement, when demands for equal rights and pay were becoming ever louder.

Black and white postcard photograph publicising ‘The Bad Girl of the Family’ by Frederick Melville, and showing a scene from the play, c.1909 (MEL/PUBMA/123: 0699937e)

The Melvilles tapped into these concerns and used the melodrama genre to address middle and lower-working class fears about ‘New Women’ disrupting society. As a genre, melodramas always play out social issues on stage before resolving them neatly and the Bad Woman plays did just this, creating unruly female leads who eventually gave up their misbehaving antics to settle down. Music played a huge role in the melodramatic genre; it became integral to the performance, making speech and gestures more extravagant and heightening emotion and meaning throughout.

Music from the Dion Boucicault play ‘The Octoroon’, adapted by the Melville family (MEL 70)

Alongside the Bad Woman plays the Melvilles worked extensively on a huge range of popular stories, rewriting them for their audiences. We have over 240 play texts from the Melvilles in our archives (view a list of titles here) and many of them contain the original scores for the performances. These plays ranged from pantomimes to contemporary stories, such as First World War dramas (‘The Female Hun’ notably includes sheet music for the German ‘Hymn of Hate’). The amount of music in the Melville archive is also documented through an entire section of the archive catalogue.

Sources:

Boucicault collections:

Fuhrmann, C. Between Opera and Musical: Theatre Music in Early Nineteenth-Century London. In Gordon, R. and Jubin, O. (Eds) The Oxford Handbook of the British Musical. DOI: 10.1093/oxfordhb/9780199988747.013.2

Pisani, M. (2004). Music for the theatre: Style and function in incidental music. In K. Powell (Ed.), The Cambridge Companion to Victorian and Edwardian Theatre (Cambridge Companions to Literature, pp. 70-92). Cambridge: Cambridge University Press. doi:10.1017/CCOL052179157X.005

Melvilles:

Mayer, D. (2004). Encountering melodrama. In K. Powell (Ed.), The Cambridge Companion to Victorian and Edwardian Theatre (Cambridge Companions to Literature, pp. 145-163). Cambridge: Cambridge University Press. doi:10.1017/CCOL052179157X.009

University of Kent Special Collections & Archives

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Category Archives: British Cartoon Archive