The History of Philanthropy

This blog from our Centre for Philanthropy colleague and Pears Fellow, Rhodri Davies, first appeared as panels in the ‘Exploring Philanthropy’ exhibition in the Templeman Gallery in 2022. 

Read on as Rhodri takes you on a whistle stop tour of the history of philanthropy!

How do we define “Philanthropy”?

“Philanthropy” is one one sense simple to define: it literally means “love of humanity”. Yet what this means in practice has proven far more difficult to pin down. The historian Benjamin Kirkman Gray argued in his 1905 book A History of English Philanthropy that philanthropy is “probably incapable of strict definition”, and many modern academics and practitioners would agree that it is an “essentially contested term”.

Part of the challenge is that the meaning of philanthropy has shifted considerably over time. Following its emergence in Ancient Greece (where it had a meaning significantly different to our modern understanding), the word philanthropy largely disappeared for more than a thousand years, when it was replaced by Judeo-Christian notions of “charity” and “almsgiving”. It finally re-emerged in something like its modern form in the 18th century, first in France and then in England, where it was used to refer to the prison reformer John Howard – a man who has been called “the first modern philanthropist”.

A key milestone in the emergence of the modern conception of philanthropy was the introduction in 1601 of the Statute of Charitable Uses. This did not, as it has sometimes been claimed, introduce a legal definition of charity; but its preamble did enumerate for the first time a list of purposes which could acceptably be deemed as ‘charitable’. (A list that borrowed heavily from William Langland’s 14th century dream poem Piers Plowman). This strengthened the notion of philanthropy as something that was concerned with secular problem solving, and laid the foundations for the definition of charity that we still use in the UK to this day (and, indeed, in many other places whose common law has followed our own).

We might assume a link between philanthropy and giving money, but this has not always been the case. Many of the celebrated “philanthropists” of the 18th century were men like John Howard or William Wilberforce, whose primary tools were campaigning and political influence. It was only in the 19th century, during the Victorian era, that philanthropy gradually came to be more associated with the idea of wealthy individuals giving money. This was cemented in the late 19th and early 20th century with the emergence in the USA of a new breed of ultra-wealthy industrialists like Andrew Carnegie, John D Rockefeller and J. P. Morgan – who were vilified by some as “robber barons”, but were celebrated by others for the scale of their giving. These Gilded Age mega-donors established a new template that continues to shape our understanding of philanthropy even today.

Cartoon image of a prison cell with pipes bringing water into the room for the inmates. In the central part of the image an inmate is being blasted in the face with water from a pipe.

Credit: John Howard bringing water and fresh air into a prison in order to improve the conditions for the inmates. Watercolour. Wellcome Collection: https://wellcomecollection.org/works/kp2dxsex

 

 

Religion and Secularisation 

The relationship between religion and philanthropy is deep and long-standing. For a long time the two were inextricably linked, as virtually all giving was guided by religious teaching and done via religious institutions. However, the Reformation in 15th Britain – which saw a schism between Catholicism and Protestantism following the decision of Henry VIII to leave the Church of Rome – together with the rise of a new form of secular humanism in continental Europe during the 16th century (epitomised by figures such as Erasmus) eventually paved the way for a new secular conception of philanthropy that was distinct from the religious almsgiving of medieval times.

This secularisation was a very slow process, however; and religious teaching continued to play a major part in motivating and shaping philanthropy for a long time. Protestant preachers and writers in the 15th and 16th centuries, keen to find new ways to distinguish their religion, often caricatured Catholic giving as “superstitious” and derided it as inferior to their own brand of “worldly” philanthropy. The poet John Donne, for instance, claimed that:

There have been in this kingdome, since the blessed reformation of religion, more publick charitable works perform’d, more hospitals and colleges erected and endowed in threescore, than in some hundreds of years of superstition before.

The secularisation of philanthropy only really took root with the advent of the enlightenment in the 17th and 18th centuries, when the arguments of influential thinkers like Mary Wollstonecraft, Emmanuel Kant and Thomas Paine led to the emergence of new views on the interplay of rights, responsibilities, charity and justice in our society.

The link between religious identity and philanthropy remained important for many, however. This was particularly true of minority groups, for whom systems of mutual aid and charity were often vital because they were excluded from the support that mainstream society offered. This was the case for the many dissenting groups of Protestants- including most notably, perhaps, the Quakers; whose willingness to combine commercial success with a strong habit of giving saw them produce many celebrated philanthropic families such as the Cadburys and the Rowntrees. It was also true of Britain’s Jewish community, which likewise gave rise to many significant philanthropists like Frederick David Mocatta and Baron Maurice de Hirsch.

Religion remains an important element of philanthropy to this day. Many donors, at all levels, would still cite religious belief as a key factor that motivates and informs their giving; even if the causes they focus on and the approaches they use reflect our more secular modern understanding of philanthropy.

Black and white portrait image of a white man, George Cadbury, wearing a suit/jacket.

Credit: George Cadbury, from Stead, H.F., How Old Age …. Wellcome Collection. https://wellcomecollection.org/works/nsq63wc6 Attribution 4.0 International (CC BY 4.0)

Campaigning and Reform  

When trying to define the difference between charity and philanthropy, a distinction is sometimes drawn between addressing the symptoms of society’s problems and addressing their underlying causes: with the argument being that the former typifies charity while the latter typifies philanthropy. This is perhaps too simplistic, but it does reflect a fundamental truth about the history of philanthropy: that campaigning and advocacy designed to bring about social change has long been just as important as addressing issues through the direct provision of services.

When “philanthropy” started being used in its modern form in the 18th century it was primarily applied in the context of campaigning; to figures like the anti-slavery advocate William Wilberforce or the prison reformer John Howard. And even as philanthropy increasingly came to be associated with the giving of money, efforts to drive fundamental social change rather than merely alleviate immediate suffering remained equally important.

Philanthropy has often played a particularly important role in the early stages of campaigning for new rights or freedoms, because it can provide vital support for marginalised groups and causes that have little or no public recognition at that point. Over time, further resources can be drawn in and new public and political support developed, resulting in the cause in question being brought from the margins into the mainstream and – in many cases – resulting in changes in policy and legislation. Following this template, philanthropy has helped to secure many major milestones of social progress that we now take for granted; from the abolition of slavery and the prohibition of child labour, to universal suffrage and the decriminalisation of homosexuality.

This has, of course, been far from easy. At the core of philanthropy’s role in attempting to drive social change there is often a tension between incrementalism and radicalism: between those who feel that the only pragmatic option is to work with existing systems, and those who feel that those very structures need to be torn down for real change to occur. Sometimes this tension has been a positive one; bringing both sides towards a middle ground that makes it possible to achieve real change. At other times, however, the tension between incrementalism and radicalism has proved too much and seen movements splinter.

There has also been sustained criticism of the campaigning role of philanthropy. The then-Chief Charity Commissioner wrote in 1979 that “The role of the charity is to bind up the wounds of society…to build a new society is for someone else”, and charities are still regularly told by politicians to “stick to their knitting” and “stay out of politics”. Often part of the rationale for doing so is a suggestion that charitable campaigning somehow represents an unwelcome new development. However, it is clear from history that this is far from true and that campaigning has in reality always been a vital tool for philanthropists in driving social change.

Philanthropy and Business  

Philanthropy and business are sometimes presented as if they are entirely separate from one another, but in reality the lines between making money and giving it away have often been distinctly blurred throughout history, as people have found novel ways to combine profit and purpose.

As far back as 1361, on his death from plague, the Bishop of London Michael Northburgh left 1,000 silver marks to establish a fund in old St Paul’s Cathedral that would not make grants, but rather offer interest-free loans on pawned objects, which had to be repaid within one year or the goods would be sold.

In the late 17th century, meanwhile, the London merchant Thomas Firmin set up a number of projects “for the imploying of the poor”, where he ran deliberately loss-making businesses in which spinners and weavers were paid well above the going market rate. It was said that he viewed these projects as “thrifty philanthropy rather than ordinary business”. The desire to combine business and philanthropy was in fact so widespread in the 18th century that the merchant James Hodges lamented:

“Any proposals for publick benefit, at the expense of private purses, without any visible return, must probably make but a small progress”

One group notable for combining business with philanthropy were the Quakers. Many big name companies and brands that still exist to this day have their roots in Quaker-owned family companies; e.g. Cadburys and Rowntrees in the world of confectionery or Barclays and Lloyds TSB in the world of banking. Figures like Elizabeth Fry, George Cadbury and Joseph Rowntree became renowned for their giving and social campaigning; which was often inextricably linked to their commercial activities.

The creation of new accommodation and facilities for employees and their families was a prominent focus for the philanthropy of Quakers as well as other business leaders. Cadbury created the model village of Bournville to house his workers; likewise Joseph Rowntree had New Earswick, Titus Salt had Saltaire and William Lever built Port Sunlight, among others. These new villages combined decent quality housing with suitably-improving leisure amenities such as museums and gardens, and were vastly superior to the majority of the cramped housing found in larger urban areas at the time. In many cases, however, this came at the price of additional controls on the lives of workers- such as the prohibition of alcohol or the introduction of curfews.

Housing was also the focus of a different business-informed approach to philanthropy known as “percentage philanthropy” (or “4 per cent philanthropy”). This was where donors like Octavia Hill and Edward Guinness would build decent-quality affordable housing in urban areas and then charge the working classes below-market rents to live in them, so the properties would deliver some financial return and the discount would be seen as the philanthropic element.

Today there is a growing trend towards “social enterprise” or “social investment” approaches that seek to combine social and financial return. Often this is presented as an unprecedented new innovation, but in fact it is clear that there is a rich history stretching back many years of people finding ways to bring business and philanthropy together.

Scene of a prison interior with two women standing close together on the right, light streaming into the cell from the door way in the centre, and poor people behind a gate/fence to the left. The light streams in illuminating a chest with lettering on the front reading Mrs Fry visiting Newgate. On a table in the foreground lies a cat-0-nine-tails whip, a jug, a bottle and some chains.

Credit: Elizabeth Fry. Reproduction of lithograph. Wellcome Collection: https://wellcomecollection.org/works/ghqzazrc

Philanthropy and the Welfare State  

From the beginning of the 17th century, when the Tudor government somewhat reluctantly introduced Poor Law legislation, the question of whether responsibility for meeting the welfare needs of citizens should lie with the state or with private philanthropy has been at the heart of political debate for hundreds of years.

Over time, the nature and scale of social problems changed as the UK became industrialised and urbanised, and it became apparent that the State had to step into many areas. But as David Owen, one of the most prominent historians of English philanthropy, notes: The welfare role of government remained “largely supplementary, to fill such urgent gaps as might be left by the network of private agencies and to carry out its traditional obligation of relieving the genuinely destitute.”

However, from the late 19th century into the first half of the 20th century a growing body of thought emerged which saw the State as having a far more central role in providing welfare. This was realised in 1948 with the creation of the National Health Service and the wider welfare state. Philanthropy and charities had played a key role in this story, as almost every element of the welfare state as we know it reflected a need that was first identified and met through philanthropic means, but it was unclear at first what the ongoing role (if any) of philanthropy was to be. As Maria Brenton notes “a common expectation in those years at the end of the war was that the voluntary sector would just wither away.”

Some rejoiced at this idea. Labour Health Minister Aneurin Bevan, for instance, derided philanthropy as “a patchwork of local paternalisms” and thought that the move towards centralised state control of healthcare represented clear progress. Others had different views: William Beveridge, one of the key intellectual architects of the welfare state, thought that there would always be a role for philanthropy because:

“Voluntary Action is needed to do things which the State should not do… It is needed to do things which the State is most unlikely to do. It is needed to pioneer ahead of the State and make experiments. It is needed to get services rendered which cannot be got by paying for them.”

The dire predictions of those who thought philanthropy had had its day clearly turned out to be incorrect, but the creation of the welfare state did lead to a period of soul-searching in which charities and their supporters were forced to rethink what their role might be. For some organisations this meant repositioning themselves to fill in gaps in state provision. For others it meant challenging the failings of state welfare directly through advocacy and campaigning. As it became clear throughout the 1960s and 70s that universal welfare was not the panacea some had thought, organisations like Shelter and the Child Poverty Action Group emerged to bring new issues of homelessness and poverty to public attention.

The present-day relationship between philanthropy and the welfare state in the UK is complex: in addition to charities filling in gaps in state welfare, or working alongside public sector bodies to enhance state services (as many charities do within the NHS), there are also many charities that deliver services on behalf of the state through grant-funding or contractual arrangements. Perhaps as a result, the desirable balance between state-funded and philanthropic welfare provision continues to be a point of fierce debate in political discourse.

Tainted Donations  

Philanthropy has, throughout the ages, generated controversy of various kinds as people object to who is giving, what they are giving to and how they are doing it. Within this controversy there is a notable recurring theme is a belief that some donations are “tainted” by virtue of where they come from because the money being given away was made in ethically dubious ways.

The question then, of course, is whether it is better to accept the gift in the hope of “putting bad money to good uses”, or to turn it down in order to avoid tainting oneself. This is a question people have been grappling with for as long as they have been giving to good causes, and opinion has always been divided. In 746, for instance, at the Council of Clovesho (a church synod attended by Anglo-Saxon kings) it was decreed that “alms should not be given from goods unjustly plundered or otherwise extracted through force or cruelty”.

Likewise in the 19th Century the Quaker philanthropist George Cadbury took a holistic view of wealth: as the historian David Ownen notes, “making money and giving it away formed for Cadbury a single pattern, and making it could be a constructive socially as giving it away. No amount of philanthropic giving could take the curse of a fortune that had been accumulated carelessly or without regard for the welfare of the workpeople who had labored for it.

Others, meanwhile, have argued that the distinction between “good” and “bad” money is unworkable and should therefore not be an impediment to philanthropy: according to George Bernard Shaw:

“practically all the spare money in the country consists of a mass of rent, interest and profit, every penny of which is bound up with crime, drink, prostitution, disease and all the evil fruits of poverty as inextricably as with enterprise, wealth, commercial probity and national prosperity. The notion that you can earmark certain coins as tainted is an unpractical individualist superstition”.

And “General” William Booth, founder of the Salvation Army, perhaps expressed it most clearly when he (somewhat apocryphally) said “the only problem with tainted wealth is t’aint enough of it!”

Concerns about tainted donations continue to be a major issue for philanthropy. As the UK undergoes something of a reckoning with our national history in the wake of the Black Lives Matter protests in recent years, many organisations – including philanthropic ones – are digging into their own histories to uncover potentially problematic links to slavery and the proceeds of colonialism, and trying to determine the best course of action to take in light of these findings. There are also concerns about current donors: the most notable example in recent years being the Sackler family, whose long-standing philanthropy has become the focus of widespread controversy as a result of their much-criticised role in creating and sustaining the US opioid epidemic.

Sport in Special Collections and Archives

With the excitement of both the Euros and Wimbledon, sports fever has gripped Special Collections and Archives, so we thought we’d explore how the two sports have been represented in cartoons across the decades and open the reading room for a free drop in this Friday 12th July to showcase some of the incredible artworks we hold. Read on for a sneaky preview of the cartoonists whose work will be on display!

 

Tom Webster (1886-1962)

Tom Webster specialised as a sports cartoonist and pioneered his characteristic “running comment” cartoon style in response to the growing popularity of press photography; “I saw the red light,” he later recalled, “and realised that I had to find something the camera could not do”. After serving as a Lance Corporal in WWI, including action in the Battle of the Somme, he joined Northcliffe’s London Evening News as a sports cartoonist in 1918, and transferred to its sister paper, the Daily Mail, in 1919. His narrative cartoons began life at the sporting events themselves, where he would draw rapidly in pocket sketchbooks, and it proved quite a feat to meet the deadline for the next day’s paper. Equipped with his reference material, Webster explained, “I have to settle the sequence of the episodes, work up to the climax of my comic story, and pencil the whole thing in, within half an hour. This leaves me about three-quarters of an hour for finishing in ink.’ His cartoons were so popular that the Daily Mail provided Webster with a chauffeur-driven Daimler, fitted with an easel, so that he could start drawing on the way back from sporting events to the office. By 1924 he was reputedly the highest-paid cartoonist in the world.

Webster played golf with Herbert Chapman, manager of Arsenal Football Club, and supposedly inspired him with his habit of wearing a red sleeveless sweater over a white shirt to redesign the club’s red shirts in 1933 to incorporate their trademark white collar and sleeves. According to Webster’s family, he produced the design himself, and was rewarded with a shirt signed by the players on the sleeves and the directors on the collar. Webster covered plenty of football matches over the course of his cartooning career, and one player that features frequently in our collection is Charlie Buchan (1891-1960). Buchan started his career with Woolwich Arsenal (as it was then) in 1909, and – following a successful career with Sunderland – returned to Arsenal in 1925, seeing the club to their first FA Cup final in 1927. Webster seemingly makes much of the striker’s height!

Tom Webster cartoon of the Sunderland football team, featuring Charlie Buchan in the front row, centre, towering over the other players.

Buchan (Sunderland). Daily Mail (1921) – British Cartoon Archive, Tom Webster TW0287

Another notable sports personality of the early 20th century was French tennis player Suzanne Lenglen, the inaugural world No. 1 from 1921 to 1926. Invariably drawn with her short black bob and coloured bandeau, Webster seems less concerned about reporting on her skill, however, than he does in implicating her femininity. One can recognise the same trait in Webster’s contemporary, W. K. Haselden, in whose abstract cartoons about tennis a recognisably similar woman appears.

Tom Webster cartoon of Suzanne Lenglen reprimanding an American press photographer.

Champion of the world. Weekly Dispatch (20 November 1926) – British Cartoon Archive, Tom Webster TW1292

 

William Haselden (1872-1953)

A self-taught artist, Haselden is principally known as a social cartoonist and he had a steady career with the Daily Mirror from 1904 until his retirement in 1940. He worked with pen and Indian ink on board and developed a special multi-frame format, usually of six images, as his trademark style. He was known to use real people as the models for his cartoons, and his female tennis players often bear a striking resemblance to Suzanne Lenglen (see Tom Webster). His cartoons often satirise social expectations with regard to femininity and fashion, and he defends the short skirt as a pragmatic dress choice for tennis by contrasting it with an array of ridiculous alternatives – from swaddling gowns to custom-made bare leg protectors.

William Haselden cartoon in two sections, the topmost one showing four female tennis players in short skirts, the bottom one showing the same players in long training skirts, in the manner of Kate Greenaway.

If dresses are to be worn longer. Daily Mirror (8 September 1921) – British Cartoon Archive, William Haselden WH3380

William Haselden cartoon ridiculing society's outrage at female tennis players' short skirts.

Bare legs at Wimbledon. Daily Mirror (31 May 1929) – British Cartoon Archive, William Haselden WH4320

Asides from tennis, it’s also interesting what Haselden’s cartoons can tell us about the history of women’s football.

Whilst testimonies exist about women joining in casual community football alongside men as early as the 15th century, the first recorded match (between England and Scotland) wasn’t until 1881. Women’s football really took off during WWI, in fact it was reported that every town in England developed a women’s team. Naturally, when professional football resumed for men’s teams when the war ended, women’s football experienced an increased ideological backlash and legal action was taken to prohibit women from taking part in organised matches. In 1921, the FA implemented a countrywide ban on women’s football, which wasn’t lifted for fifty years. It is this context which we need to bear in mind when viewing Haselden’s cartoons. On 14th November 1925, the Daily Mail published Haselden’s cartoon about how rugby is – and ought to be – played. In response to contemporary complaints that the game is too rough, Haselden suggests that efforts to make the sport more genteel would risk emasculating the players. If men should conduct themselves like women on the pitch, how ironic is it, then, that women should be banned from the pitch?

William Haselden cartoon in two sections, the topmost showing rugby players fighting, and the bottom one showing 'civilised' play.

How to play rugby. Daily Mirror (14 November 1925) – British Cartoon Archive, William Haselden WH2589

 

Richard Willson (1939-2011)

Known principally as a caricaturist, Richard Willson can be said to have started his career proper in 1968 when he was taken on by The Observer. He started working freelance for The Times in 1971, contributing striking profiles for its Business Diary. His career involved freelance work for a wide range of publications, so it is difficult to know precisely which magazine or newspaper these caricatures may have been intended for. Amongst his sets of 80s and 90s sports personalities, Willson has captured footballers Gary Lineker and Vinnie Jones, and tennis players Björn Borg and Martina Navratilova. His fine, cross-hatched style with big heads on small bodies shows the influence of the American caricaturist David Levine; the artworks here have been done in ink and acrylic, which testifies to the spread of colour printing in newspapers since the days of Webster and Haselden.

Richard Willson caricature of 80s sports personalities: Rob Andrew, Gary Lineker, Björn Borg, Martina Navratilova, Brian Lara and Damon Hill.

80s sports personalities (Rob Andrew, Gary Lineker, Björn Borg, Martina Navratilova, Brian Lara and Damon Hill) – British Cartoon Archive, Richard Willson RW0028

Richard Willson caricature of 90s sports personalities: Will Carling, Mike Tyson, Michael Schumacher, Jonah Lomu and Vinnie Jones.

90s sports personalities (Will Carling, Mike Tyson, Michael Schumacher, Jonah Lomu and Vinnie Jones) – British Cartoon Archive, Richard Willson RW0027

 

Ron McTrusty (1948-2021)

Whilst Ron McTrusty started his career in 1970 as a magazine designer for Women’s Own and Women’s World, his significance for the British Cartoon Archive lies in his caricatures, and a number of notable sports personalities appear across our collection. To conclude this post, I leave you with the great Sue Barker, Tim Henman, Ian Wright and Glenn Hoddle. Come along on Friday to see even more!

Ron McTrusty caricature of Sue Barker.

Sue Barker – British Cartoon Archive, Ron McTrusty RMT0026

Ron McTrusty caricature of Tim Henman.

Tim Henman – British Cartoon Archive, Ron McTrusty RMT0507

Ron McTrusty caricature of Ian Wright.

Ian Wright – British Cartoon Archive, Ron McTrusty RMT1063

Ian McTrusty caricature of Glenn Hoddle.

Glenn Hoddle – British Cartoon Archive, Ron McTrusty RMT0474

Mining in Kent exhibition – Book a Tour!

We will be holding a series of guided tours of the Mining in Kent exhibition. Join us on a tour to find out more about the exhibition, hear about the exhibition highlights, and get the answers to any questions you might have about mining in Kent!

The exhibition tells the story of the history of mining in Kent, from the early days of discovering the Kent coalfield to the impact of the 1984 Miners’ Strike. Illustrated by original archive material from Special Collections and Archives we explore the main coalfields in the county and what life was like for a Kent miner. We look at the history of miners’ strikes in 1926, 1972, 1974 and 1984 and how these were portrayed by cartoonists in the national press. We take a deeper look at the impact of the 1984/1985 miners’ strike in Kent and the different forms of support that arose for the miners and the mining community, from Kent students to stand-up comedians.

Tours will be led by Karen Brayshaw (Special Collections and Archives Manager) or Beth Astridge (University Archivist).

Tours will be held on:

 

  • Wednesday 10th July 12pm – with Karen Brayshaw
  • Monday 22nd July 1pm – with Beth Astridge
  • Friday 9th August 12.30pm – with Karen Brayshaw – NOW FULLY BOOKED
  • Tuesday 10th September 12.30pm – with Beth Astridge – NOW FULLY BOOKED
  • Thursday 26th September 12.30pm – Karen Brayshaw

If you would like to join us for a guided tour of the Mining in Kent exhibition – please  email specialcollections@kent.ac.uk to book your place!

Two yellow stickers with red and black text reading "Support the Miners, NUM, Stop Pit Closures"

NUM Support the Miners stickers, from the Richard Richardson Mining Collection

Mining in Kent: An Exhibition exploring the history of mining in Kent

2024 marks both the 40th anniversary of the 1984 Miners’ Strike, and the 100th anniversary of the cutting of the first mineshaft at Betteshanger Colliery, the largest of Kent’s mines.

Front page of a Kent Area National Union of Mineworkers Leaflet titled Solidarity with the Miners, with the title in red text above an image of miner wearing a miner's helmet and head lamp, and the caption 'Coal Not Dole' at the bottom.

Kent Area NUM Leaflet – Solidarity with the Miners (Richardson Mining Collections, Box 6)

Using archive material from Special Collections and Archives, this exhibition tells the story of the history of mining in Kent,  from the early days of discovering the Kent coalfield to the impact of the 1984 Miners’ Strike.

The exhibition showcases material from the following archive collections:

  • The Richard Richardson Mining Collection
  • The British Cartoon Archive
  • The British Stand-Up Comedy Archive
  • The Labour and Socialist Newspapers

With thanks to Beth Astridge and Karen Brayshaw – and especially to our volunteer Amy Green, who have worked on the research and curation of this exhibition.

We will be publishing several blogs of the next few months giving further insight into some of the stories and items on display in the exhibition. So do keep checking here for further blog entries!

 

Cartoon showing the ups and downs of Arthur Scargill's leadership of the miners' strike with him moving up ladder in March 1984, and sliding down a snake in March 1985.

Nicholas Garland in this cartoon illustrates the rise and fall in the prospects of Arthur Scargill and the NUM from the beginning of the strike in 1984 to the end in 1985. (Reference: British Cartoon Archive, NG2969, Nicholas Garland, Sunday Telegraph, 12th March 1984)

 

 

Preserving ceramics – a work placement project

We welcomed three university students to the archives earlier this year to work on ceramic objects in our Holt Bairnsfather Collection and Graham Thomas Collection. The students were joining us on work placements as part of their studies, and were asked to complete a number of tasks to help us preserve, catalogue and make accessible these collections:

  • Reviewing: Carrying out a condition report for each item in the collection and photographing each item
  • Cleaning: Using conservation materials to gently clean the items to ensure they are free of dust and grime
  • Repacking: Creating custom enclosures for each item using plastazote and ‘Really Useful Boxes’
  • Listing: Creating descriptions for each item in a spreadsheet that will be imported into Calm, our Collection Management System

You can find out more about these collections on our catalogue:
Holt Bairnsfather Collection
Graham Thomas Collection

Harvey (Canterbury Christ Church University)

Working on the Bairnsfather Collection has been my first experience working as a part of an archival team. It has been an amazing experience and has taught me a lot about not only how working in an archive works but also about a part of history that I did not know a lot about before starting my placement here.

The work I did as part of the team was cataloguing, filling out condition reports, and packaging the items that were to be added to the collection. When cataloguing and completing condition reports it was vital to note down every important detail which people might find important when looking to study these items. Fully assessing the condition was also important as it could be that a detail that someone wanted to look at is damaged, or it could help the archival team know what needed to be handled with a little extra care. When looking into the items to write up their description I learned a lot about not only the items themselves but also about the history surrounding them. This was history I was unlikely to look into myself as I am more of a medievalist.

The beginnings of packaging being constructed

The process of creating protective packaging for the items was a very interesting one as it was not something I had considered as a part of working in an archive before this point. It was one of the reasons for which I applied to do my placement at the Kent Special Collections and Archives department. The way I created the packaging for the items changed throughout my placement.

The figure of President Wilson, depicted holding an ammunition shell.

At first I took measurements at every new layer of plastazote (the main material used in the creation of the packaging). However, by the end, I would measure the first layer and then use that as a template for the rest of the layers. Using scraps of the foam was also a way in which I could make layers on particularly unique shapes of items as it was easier to use the smaller, already-cut pieces than it would be to cut out new ones.

 

 

 

Overall, I found my time working with the Bairnsfather Collection to be very rewarding. The skills and history I learned are invaluable and I look forward to going back and helping out again.

______________________________________________________________________

Nirvanna (Canterbury Christ Church University)

This post is dedicated to commemorating the University of Kent’s Special Collections and Archives department and their continuative effort to make unique historical collections available to the benefit of wider society. This department houses and stores over one hundred and fifty collections which range from materials including memorabilia, ceramics, and publications. Throughout the duration of my time working alongside this department, I assisted with the archival processing of the Graham Thomas Collection.

The Graham Thomas Collection

This collection was gifted to the University’s Special Collections and Archives Department by the former lecturer in politics Dr Graham Thomas, after he passed away in April 2023. Dr Graham Thomas was an active participant in the founding of the British Cartoon Archive in the early 1970s. His addition to the Archives consists of the personal items he acquired throughout his lifetime, relating to theatre and cartoons, including the political and cartoon ceramics that will follow in this post.

F.C.G “Toby” Jugs

Fig 1. Pictured is the F.C.G “Toby” Jug Collection depicting seven of the eleven allied war leaders, President Woodrow Wilson depicted in navy blue to the left, Marshall Foch in the centre and David Lloyd George on the right.

A large part of this collection is the political memorabilia collected by Dr Thomas in the form of ceramics. An example of this is the F.C.G “Toby” series pictured in figure 1. This collection represents the full series created by political cartoonist Sir Francis Carruthers Gould in 1917, depicting eleven allied war leaders as decorative ceramic toby jugs. These figures include Winston Churchill (pictured in figure two below) and President Woodrow Wilson (pictured in figure one above), both of whom were widely influential during World War I.

Figure two: pictured Winston Churchill Soane and Smith Toby Jug, 1918, © University of Kent Special Collections and Archives

The accumulation of this series has proven to be a rarity as, upon research, only a limited number of each character toby jug was produced by the makers, Wilkinsons Ltd. Accompanying the figures of the Toby jugs is documentation explaining the release of this toby series as pictured in figure three below. The documentation briefly states that during the time the series was released, there was an increase of demand leading to a ‘reserve list’ for subscribers enquiring after these unique pieces, which consequently required buyers to pay a high price for them. With their existence being in demand from consumers it prompted the producers Soane and Smith to destroy the moulds after their creation so that others could not attempt to replicate them.

Background of Political figure ceramics

The use of ceramics to depict images has been historically significant to convey wider societal opinions on specific subject matters. For modern-day political artists, ceramics and cartoon depictions will be created with the intention to capture the common thoughts and reactions to the affairs of political leaders. The narrative behind these creations has followed the attempt to admonish their audience using satire to question political thought and encourage subversion in the public.

Fig 3: Documentation of a poster promoting the release of the F.C.G “Toby” Series © University of Kent Special Collections and Archives.

The importance of archiving and housing records of such suggestive ceramics is so that there is an inclusive record of public opinion. Not only the fact of historical events, but the lasting effect of politicians on public lives. Many of which, during their time period, did not have a voice to change or challenge governmental authority on their own.

Concluding thoughts

In credit to the Special Collections and Archives department, the artefacts they collect continue to increase the exposure of unknown stories to the wider public. Thus, allowing the general public to access resources that sustain the education of past culture for current and future generations.

Further Reading

Books: Edith Garcia, Ceramics and the Human Figure, (A&C Black Visual Arts, 2012).

Open Access Articles: Deniz Onur Erman, ‘Ceramics and Humour,’ Procedia – Social and Behavioural Sciences, Vol. 51, (2012), p 413.
https://www.sciencedirect.com/science/article/pii/S1877042812033198?ref=pdf_download&fr=RR-2&rr=87d0ff274cec888f

______________________________________________________________________

Lizzie (University of Kent)

I spent multiple weeks working as a volunteer in the University of Kents Special Collections department documenting and packaging the Holt Bairnsfather collection of ceramics with the cartoons of Captain Bruce Bairnsfather on them.

This was not only an enjoyable time but also educational. This experience allowed me to apply the information I had received during lectures as well as receive some additional insight into the career of archives. During this internship I experienced the process of cataloguing the ceramic collection (this included the writing of a description on excel that would later be put on the website) and packaging the ceramics.

While it started off easy with the packaging it became more difficult due to the unusual shapes of the ceramics like jugs cups and figurines. Each ceramic was stored properly in plastic containers with padding to prevent movement. As each item was packaged, I became more proficient and became able to make up a box in one to one and a half sessions depending on the number of objects.

 

A useful method was applied when helping me adjust to the volunteering; they gradually increased the difficulty of the objects until I got to the largest and most intricate box. This was the tea set. I had to pack seven cups and seven saucers as well as a tea pot and its lid in one box. This was the largest number of objects that needed to go into a single box that I had done. As the cups were all the same it saved time on documenting them onto the spreadsheet, but it still took the entire 6 hours I was there to get the whole box recorded. By the end of the second session I had completed work on the teapot and the saucers. These took a really long time as there was a lot of layers to the packaging that was needed to be cut in order for the ceramics to be secure. As I had to fit so much into one box I discussed with Clair, my supervisor, on how to fit it in. I couldn’t use the same method I had done for previous plates as there wasn’t enough room. This led to the plates being placed on their side rather than flat. I found that the teapot and teacups were more difficult to secure due to their handles. I had to cut through multiple layers of plastazote accurately and rather narrowly to ensure they fit. In comparison the saucers only needed rectangles which is easy to adjust when necessary.

Overall, this was a wonderful, and well supported experience in a friendly environment that enabled me to steadily progress through different difficulties. Out of all I’ve learnt it was also an amazing opportunity to explore the archives in the basement of the library and see how the ceramics would be stored after I had finished packaging them.