Print Works: Part Four – Working in the Print Industry

Posted on May 27, 2020 by Joanna Baines

Special Collections & Archives has been working with Appletye – an artists’-led organisation based in Margate – to support their mission to record the Isle of Thanet’s rich printing heritage. In lieu of a physical display in Spring 2020 these guest blogs by Dan Thompson and Dawn Cole are our virtual equivalent – we hope you enjoy!

There were a variety of jobs in the pre-digital printing industry, meaning works like the Thanet Press employed large numbers, and needed specialist suppliers so supported small printers, bookbinders, and other trades locally. The key jobs, as a compositor laying out type, proof reading pages, or working with the machines, were highly skilled.

A printer’s apprenticeship lasted seven years, and involved study at an approved college as well as practical work at a print works. Locally, apprentices studied at Thanet School of Arts and Crafts, Canterbury College of Arts, or Maidstone College of Arts where they learned layout and design, typography, and to lay out lead type letter-by-letter.

From the 1950s, the print industry underwent radical changes, from traditional ‘hot metal’ letterpress printing to lithographic, and then computer typesetting and digital printing.

For print workers, that meant constant adaptation and learning new skills.

Things Caxton probably wouldn’t understand: the evolution of the printing press

“Printing’s changed more than any other trade. It’s changed from a room full of hot metal to an office job, but you need the same experience and expertise.” Jim Bellamy, Thanet Press

A larger print works like The Thanet Press was inevitably about more than the job: it became a place where couples met and got married. Workers joined amateur theatrical groups, footballs teams, or showed with the horticultural society. And people created their own welfare state, through strong unions and paying into the ‘sick club’. It was common to find siblings working alongside each other, or generations of the same family working in print together.

We’ll claim the record for being the first blog to mention printers and football in the same post

However, the print industry was old, established – and very male. The unions wouldn’t allow women to operate the printing presses, and they were kept to jobs in the bindery, finishing and stitching or stapling print jobs.

“The bindery had about twice as many women as men working in it … It was a very companionable environment.” Pat Davies, Thanet Press

About the Print Works project:

Print Works is a year-long project from Appletye, an arts and heritage organisation. The project explores the history of the print industry on the Isle of Thanet, taking inspiration from two former companies and the heritage of the sites they occupied at Thanet Press, Union Crescent, Margate and Martell Press, Northdown Road, Cliftonville. At the heart of the project are archives from the two Margate firms, recording the stories of the people who worked there and the work they did.

Using the Print Works archive:

The Print Works archives include hundreds of examples of material printed in a pre-digital age, including much related to Margate, Broadstairs, and Ramsgate. It includes print for seaside hotels, entertainment venues, and tourism businesses.

The archive also includes documents relating to working in the print industry in the 20th century, from apprenticeship indentures to certificates from a print factory’s Horticultural Club. There are documents relating to design, typography, and the move from analogue processes like typography to digital design and print.

The archive is new, so includes primary material not used before in academic research. It is held at a studio in Margate. For more information email dawn@appletye.org

Exploring mental health through artists’ books

Posted on May 21, 2020 by Joanna Baines

This week (18 – 24 May) is Mental Health Awareness Week and there are some great conversations being had online. It’s great that talking about mental health is being supported more and more in everyday life too – all of us have mental health, just like we have physical health and the two often go hand in hand.

Archives can be places to explore how health has been described and medicine developed across the years. However they are also places to capture what life is like now and record lived experiences (see our call for donations relating to the current Coronavirus pandemic). This is also the case with our Prescriptions: Artists’ Books collection. We’ve written about these wonderful objects previously (see posts here) but today we want to share some of the books that explicitly relate to mental health.

All the images used in this post are copyright of Egidija Ciricaite.

Inside : An artists’s work: living with depression (Yvonne J. Foster, 2013, PSC34)

Image of pages from ‘Inside : An artists’s work: living with depression’ by Yvonne J. Foster

Many of the artists’ books in our collection seek to deepen dialogue between patients and medical staff, and this work is one example. Here, Foster explores how it feels to live through a breakdown using altered photographs and scribbled images. Foster is a Brighton-based artist focusing on miniature works; you can view her website here.

No mind (Gaby Berglund Cárdenas, 2014, PSC28)

Image of ‘No mind’ by Gaby Berglund Cárdenas

Mindfulness and meditation are often discussed in relation to mental health; many have found such techniques help to manage anxiety and depression. Cárdenas lived in South Korea whilst studying for a Masters in Fine Arts; whilst she was there she explored Buddhism and the role meditation has within the religion. For Cárdenas writing the phrase “no mind” became a way to quiet her brain and body. This piece is composed of an antique spool, around which Nepalese paper is wrapped; holding the object also makes you aware of the fragility of the work. Today Cárdenas lives in Sweden; you can find more of her works here.

Protecting my mind (Gunilla Åsberg, 2015, PSC41)

Image of ‘Protecting my mind’ by Gunilla Åsberg

Asberg worked alongside a psychologist over several months to record the experiences of women dealing with stress-related illnesses, and this book records their stories. On the right-hand side of the book, Åsberg uses text from Swedish health and safety regulations but the fourth category is her own work, written to highlight the lack of mental health protection in employment legislation. You can view more of Åsberg’s art here.

Mind maps: The cumulative (hidden) experiences of the life of Penny Alexander 2016 (Penny Alexander, 2016, PSC36)

Image of ‘Mind maps: The cumulative (hidden) experiences of the life of Penny Alexander 2016’ by Penny Alexander

Alexander began creating artists’ books after her experiences of postnatal depression. This book, filled with pages of typewriter art, draws direct correlation between the experiences of everyday life and our mental wellbeing. Adams explores this correlation further by juxataposing maps of where she’s lived throughout the work – again highlighting the physical importance of place and self to health.

The book of common prayer (Sophie Adams, 2016, PSC6)

Image of ‘The book of common prayer’ by Sophie Adams

Common prayer books are traditionally found throughout the Anglican Christian world and contain forms of service, daily prayers and Bible readings. Here, Adams has transformed the book – using folding, not cutting – so that when it is spanned open the word ‘prozac’ can be seen. Prozac – or fluoxetine, to use its medical name – is an antidepressant drug used to treat many mental health conditions. Antidepressants frequently rank among the most prescribed medications in both the US and UK; they help many people to recover from illness but can also be indicative of the state of society’s mental health. By using folding patterns to create the word, Adams also explores the repetitive actions that can also be calming in periods of anxiety. You can see other works by Adams here.

Cumulatively these books help to show not only the diversity of mental health but also the strength of responses to it. Recording and making work in response to periods of mental illness can, for some, be an act of healing in itself. The books in Prescriptions also serve to challenge and improve relationships between treatment-giver and treatment-receiver; however they also contribute to opening up dialogue and removing stigma around lived experiences. They can inspire responses and new approaches to mental health – whether with you to create your own art or with generating empathy and understanding on any scale, be it individual or wider.

If you’d like to see images of these books or the rest of the Prescriptions collection these can be viewed through LibrarySearch; you are welcome to view these items in our Reading Room when we open again. For more information about the research being done at Kent relating to artists’ books (including the book which accompanied the 2016 exhibition of these works at the Beaney museum in Canterbury) please click here.

The University of Kent has many resources that can help if you’re concerned about your mental health; see the guide for students and staff wellbeing pages.

A little of what you fancy..!

Posted on May 16, 2020 by Clair Waller

To celebrate the inaugural #musichallvarietyday on Saturday 16^th May, 2020, we thought we’d tell you a bit about one of our magnificent theatre collections, the Max Tyler Music Hall Collection!

In June 2018 Special Collections & Archives were lucky enough to receive the personal music hall memorabilia collection of Max Tyler.

Who was Max Tyler?

Max was the historian and archivist of the British Music Hall Society. A retired bank manager, Max looked after the society’s theatrical memorabilia and was an expert in the field, particularly in the subject of seaside entertainment and obscure music hall tunes!

Photographs of Max Tyler. Left and right images courtesy of Alison Young, middle image from the Max Tyler Music Hall collection.

Max was often invited to speak at events all across the UK and frequently wrote articles for publications such as The Call Boy and The Stage, and was the editor of the journal Music Hall Studies. According to the Music Hall Studies website, it was Max’s belief that “if there were no other source relating to British social history for a long period around the turn of the nineteenth century, a study of music hall song would provide everything researchers were seeking”.

Max had been in talks with us for many years about his personal collection of music hall memorabilia and research, with him ultimately bequeathing it to the University. Sadly, Max passed away on 5th January 2018 after being in poor health for some time. In his obituary in The Call Boy, Roy Hudd said of Max, “Max Tyler, an old fashioned gentleman and an old fashioned gentle man”.

After his death we worked closely with the British Music Hall Society to transfer the collection to our archive.

Music Hall? What’s that!?

Music hall was an incredibly popular form of entertainment from the mid-19^th through to the early 20^th century. Originating in bars and public houses, it was a heady mixture of popular songs, comedy and variety entertainment.

Oxford Music Hall, 1875

From around 1850 specialist music halls began springing up all across the country as the genre became more and more popular. The patrons would smoke, eat and drink whilst enjoying the humorous (and often cheeky) performances from that night’s entertainers. These entertainers were the celebrities of the day, with the most successful ones, such as Marie Lloyd, performing both nationally and internationally. The songs they sang were often a comment on the working class social issues of the time, such as money troubles, overcrowded living, unfaithful or nagging spouses, and sometimes even true love!

As the 20^th century progressed and World War loomed, music hall popularity dwindled. Then came radio, cinema, and later, television, firmly putting an end to its ubiquitous popularity.

The collection

The Max Tyler Music Hall Collection is chock-full of music hall material, spanning from the late 19^th century through to the early 21^st century. It includes original and copies of Music Hall song sheets, sheet music and scripts for musical comedies, music hall programmes, playbills, 20th century music hall and vaudeville magazines and periodicals, music hall audio recordings on cassette, CD, shellac discs, and reel-to-reel tapes, published books on music hall, and music hall performers, Max’s research notes, and even Max’s very own stage blazer and hat!

Max’s striped blazer and straw boater hat, from the Max Tyler Music Hall Collection.

We couldn’t possibly fit information about everything in the collection in to one blog post, so for today’s post we will focus on a couple of the larger elements of the collection.

Songsheets

There are at least 1500 songsheets in the Max Tyler collection. With elaborately illustrated covers, and whimsical titles such as “I wasn’t so drunk as all that” and “La-Didily-Idily-Umti-Umti-Ay!” these songsheets are an incredible glimpse in to the working classes of the day (albeit a satirised, playful one!) Performers such as T.E. Dunville, Vesta Tilley, Marie Lloyd and Gus Elen, amongst many others, are represented, as well as prolific composers such as Joseph Tabrar, Arthur Lloyd and George Le Brunn.

Just a few of the 1500+ songsheets in the collection.

Programmes

The collection boasts beautifully illustrated late 19th and early 20th century programmes from variety theatres of the day, through to bold and photographic programmes of the later 20^th century. It includes examples from provincial towns as well as the larger cities. This part of the collection is incredibly complimentary to our other theatre collections, which you can find out more about on our website!

A selection of the earlier programmes available in the collection.

Research Notes

Max was a diligent organiser and avid researcher of music hall, the benefits of which can be seen in his collection. He would always go the extra mile when researching on behalf of the society or members of the public and seemed to have a knack for knowing where to look for the most elusive of details. There are over a hundred files in the collection, on topics from individual performers, composers and historic events, through to animals and trains; it if it was a theme in music hall then Max was bound to have researched it in some way!

Examples of the research files in Max’s collection.

Book collection

There are just under 550 books in Max’s collection. Again, the topics of these books vary from the specific to the peripheral when it comes to music hall. There are titles written by or about music hall performers, encyclopaedias and compendiums of music hall songs, stars and theatres, through to historical and literary texts.

Books in the Max Tyler Music Hall Collection

We are currently working on organising and cataloguing the collection. Material which has been catalogued can be found here if you’re looking for archival material, or here if you’re looking for items from Max’s book collection.

If you are interested in researching or simply viewing any material from this stunning collection, please do get in touch with us via specialcollections@kent.ac.uk.

Print Works: Part Three – The Martell Press

Posted on May 13, 2020 by Joanna Baines

Two Thanet schoolboys had already caught the addictive whiff of printer’s ink, oil, and paper that you find in any pre-digital printworks, from their father Norman, co-founder of publishers The Graham Cumming Group and owner of printer Westwood Press. Norman Martell printed town maps for councils, and diaries for clubs and societies, selling advertising in them to cover costs and generate a profit.

So when his sons Charles and Henry Martell found a printing press at their school, St Lawrence College in Ramsgate, they started to print for themselves.

And when they unwrapped their Christmas presents in 1962, they found that their dad had bought them an Adana which could print an area up to about 20cm by 12cm. Adana printing machines were made between 1922 and 1999. Aimed at the hobby market, they were widely used by small, commercial printers and thousands of their vertical platen presses are still in use, often in the hands of artists and designer-makers.

Charles & Henry Martell’s original Adana, seen here in situ but now in the Print Works archive.

From that small Adana, the Martells got to work printing calling cards, letterheads and other ‘social stationery’ and were paying tax by the age of 16. They learned as they printed, rather than through a formal apprenticeship.

In 1967, the Martell brothers had built enough business to move from working at home to opening their first print works, in Fitzroy Avenue, Margate, and in 1969 they took over a stationery shop on Northdown Road, Margate.

Advert printed by the Martell Press

35 years later, the brothers employed around 30 people. The printworks had expanded into three units at Hopes Lane, Ramsgate and the shop had more than doubled in size after being destroyed by a fire in 1982.

For both sides of the business, local guesthouses, hotels, and tourist attractions were essential.

“I used to zig zag down the road collecting orders from all of the guest houses,” Henry remembers, “We did everything from menus and business cards to theatre programmes and postcards.”

Advert for Goodwin Sands Fashion Show, printed by the Martell Press

As tourism faded in Thanet, so did Martell’s trade until only the Northdown Road shop remained, selling stationery and offering basic design, printing and copying services. The shop closed in 2017.

Using the Print Works archive:

The archive is new, so includes primary material not used before in academic research. It is held at a studio in Margate. For more information email dawn@appletye.org

Print Works is supported by a grant from the National Lottery Heritage Fund.

VE Day through the eyes of cartoonists

Posted on May 7, 2020 by Joanna Baines

May 8th 2020 is a particularly notable date for us UK residents. Not only is it a bank holiday (on a Friday), but it’s also the 75th anniversary of Victory in Europe day, better known as VE Day. On the 8th of May 1945 the Allies formally accepted the surrender of Nazi Germany, marking the end of the Second World War in Europe. What better time, then, to delve back through the British Cartoon Archive to see how cartoonists marked this momentous occasion?

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

‘The nightmare passes’ by David Low is arguably one of the most famous images from VE day. Published by the Evening Standard on 8th May 1945, it shows a man and a woman – representing everyday citizens – waving as the black clouds part to let the sun in.

Leslie Illingworth, ‘Night passes and the evil things depart’, Daily Mail, 8th May 1945 (ILW0903)

Leslie Illingworth published ‘Night passes and the evil things depart’ in the Daily Mail also on the day itself. It’s interesting to compare Low and Illingworth here – both use the natural world as a metaphor for the War, but Low focuses on depicting the general public whereas Illingworth explores the detail of the dark clouds, bringing up spooky and apocalyptic visions.

NEB (Ronald Niebour), “Just one more for the old family album sir.”, Daily Mail, 8th May 1945(NEB0247)

In contrast to Low and Illingworth, Ronald Niebour (NEB) depicts one of the most famous figures of the Second World War – Prime Minister Winston Churchill, complete with cigar in his mouth. Niebour presents a patrotic, jovial side to the celebrations here – there are multiple union jack flags and someone is photographing the scene, aware of its place in history.

Carl Giles, “…The forces surrendering will total over a million chaps…and that, gentlemen, is a good egg…”, Daily Express, 8th May 1945 (GA5444)

Carl Giles was travelling in Europe as the Daily Express’ war correspondent in 1945, so his art published during this period is more observational than his traditional style. Here Giles depicts Field Marshal Bernard Montgomery, who played a crucial role in directing troops during the Second World War – both in the Western Desert campaign in Egypt and Libya and in Europe from 1944. On the 4th May 1945 Montgomery accepted the surrender of German forces in northwest Germany, Denmark and the Netherlands. Giles drew this image at Montgomery’s headquarters in Luneberg; it is thought to be one of the first sketches of the Field Marshal in action, as previously he had only been depicted in caricature.

E.H. Shepard, ‘The doomed isle’, Punch, 7th March 1945 (ES0064)

Cartoonist and illustrator E.H. Shepard’s cartoons from VE day aren’t held in the British Cartoon Archive but we couldn’t resist sharing this work, published in Punch in March 1945. Unusually, Shepard depicts a German soldier (sitting vulnerable in a stormy sea) as the tides of freedom wash in around him. The continuing nature references in these cartoons suggest that there was a feeling in 1945 (and throughout the war) that the world is returning to how it should be rather than what the Nazi party wanted to change it into.

Prior to VE day itself, cartoonists were already echoing political sentiment that the Nazi era was drawing to a close – even before Hitler’s suicide on the 30th April. Here, this drawing by David Low follows on from Shepard above to highlight the aftermath of six years of war:

David Low, [no caption], Evening Standard, 7th May 1945 (DL2415)

Strube takes a slightly more lighthearted approach to to the collapse of the Nazi regime, using the infamous phrase “joy through strength” here to ridicule Hitler and echo the saying “the wheels are coming off”. An interesting inclusion to Strube’s cartoon is the Roman Emperor, which could either be a reference to the mythology the Nazis sought to uphold or the political disputes which ended many Roman leaders’ reigns.

Sidney ‘George’ Strube, ‘Going- going’, Daily Express, 2nd May 1945 (GS0702)

Wordplay can also seen in Giles’ cartoon, published on the 29th April; here, the Nazi motto “One people, one state, one leader” is barely intact amongst the rubble of Germany:

Carl Giles, ‘German Landscape’, Daily Express, 29th April 1945 (GA5440)

The overwhelming majority of cartoonists praise Allied powers for bringing about VE Day, and one man in particular – as depicted here by David Low:

David Low, [no caption], Evening Standard, 12th May 1945 (LSE1229A)

As the war ended in Europe and soldiers began to come home, many artists looked to the future. Once again, David Low summarises public sentiment best: VE Day wasn’t an end, but a beginning – well worth remembering in current times too.

David Low, ‘End? No – beginning’, Evening Standard, 11th May 1945 (DL2417)

As ever, we could continue this exploration of VE day images for ages but why don’t you have a look? You can search through the British Cartoon Archive’s collections here. And if you’ve forgotten what exactly happened during the Second World War, don’t worry – Illingworth has your back:

Leslie Illingworth, [no caption], Daily Mail, 1 May 1945 (ILW0898)