50/50 Exhibition – The 50 Selected Cartoons

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

In October 2023 we launched our new co-curated exhibition highlighting 50 cartoons representing 50 years of the British Cartoon Archive. The cartoons were selected and researched by a fabulous team of volunteers and we are extremely grateful to them for their participation in this project. So thank you to Angel Robson, Dr Balasubramanyam Chandramohan, Cameron Matthews, Elizabeth Grimshaw, Hannah Robson, Irene Szmelter, Nadia Davies, and Peter McCullen! 

The full list of the selected cartoons can be found here in this blog – but do remember to come and see the exhibition in person between October 2023 and February 2024!

The 50 cartoons selected represent the vast breadth of artists, subjects and formats found in the British Cartoon Archive. Together they provide a fascinating introduction to the history of cartooning and tell the stories of political events and people discovered by the volunteers throughout their research.  

Themes that emerged in the volunteer research included the history of cartoons, the beginnings of satire, the space race, political events and crises, strikes, the commonwealth, and the cartoons of Carl Giles.

Introduction Panels – Cartoons selected by the British Cartoon Archive staff 

  1. “Cartoon No 1: Substance and Shadow”, Punch, Or, The London Charivari, 1843. Reference: Punch, 15th July 1843

    Cartoon titled Cartoon No 1 Substance and Shadow showing a scene in an art gallery where a group of poor and ragged children and adults are looking at the opulent artworks on the walls which show portraits of people in more wealthy clothing

    Substance and Shadow, Cartoon No. 1, Punch Magazine, 15th July 1843.

  2. Rendezvous, David Low, Evening Standard, 20 September 1939. Reference: LSE2692

 

Satirical Ceramics in Late Georgian Britain and beyond ;The Emergence of Satirical Print; Historians start to take cartoons seriously

The cartoons for this theme were selected and described by Irene Szmelter:

  1. Pink jug with transfer-prints, Doctor Syntax drawing after nature; Doctor Syntax Disputing his Bill with the Landlady, c.1914-1930s. Reference: Doctor Syntax collection, [uncatalogued]  
  2. Plate with transfer-print, Doctor Syntax reading his tour, c.1920-1980s. Reference: Doctor Syntax collection, [uncatalogued]
    Ceramic plate on a plate stand showing an image of Dr Syntax, a character created by Thomas Rowlandson as a satire of William Gilpin, who was a supporter of the Picturesque movement. In the image Dr Syntax is reading his book to others in a tavern and they look bored and even asleep.

    Plate with transfer-print, Doctor Syntax reading his tour, c.1920-1980s. Reference: Dr Syntax collection, [uncatalogued]

  3. William Combe, The tour of Doctor Syntax, in search of the picturesque : a poem (5th edition, London, 1813) Reference: Derek Schartau Collection PR 3359.C5 
  4. Steve Bell, Fashionable Contrasts in Washington D.C (after James Gillray), 2017 Reference: Steve Bell Digital Collection SBD1772 
  5. Richard T. Godfrey, James Gillray: the art of caricature (London, 2001) Reference: British Cartoon Archive Library LRG NC 1479.G5 GOD
  6. Martin Rowson, The Contrast 2018 (after Thomas Rowlandson), 2018. Reference: Martin Rowson Digital Collection MRD1228 
  7. Dorothy George, English political caricature, 1793-1832 : a study of opinion and propaganda, 1959. Reference: British Cartoon Archive Library, NC 1763.P66 M 
  8. McCreery, The satirical gaze: prints of women in late eighteenth- century England, 2004. Reference: British Cartoon Archive Library NE962.W65

Strikes!

The cartoons for this theme were selected and described by Angel Robson:

Cartoon showing the door to Number 10, being opened by Boris Johnson holding an umbrella, with buckets of excrement balanced on the top and about to come down on his head. The buckets are labelled 'Inequality', 'Education' and 'NHS'. Keir Starmer is shown hiding just beyond the opening door and is pulling his mask down.

13: “Come on Everyone! Lockdown’s over and everything’s brilliant!” Martin Rowson Digital Collection, MRD 1634, Daily Mirror, 5th April 2021.

  1. Sidney Strube, – And we’re on our way, Daily Express, Undated. Reference: Sidney ‘George’ Strube Collection, Beaverbrook Foundation GS0070 
  2. Jonathon Pugh, “It’s not another eclipse. They’re our rubbish bags”, Daily Mail, 05 September 2017. Reference: Cuttings Collection 106199 
  3. Martin Rowson, [Lockdown’s over and everything’s brilliant], Daily Mirror, 05 April 2021. Reference: Martin Rowson Digital Collection MRD1634 
  4. Peter Brookes, Hoot if You Support Junior Doctors, The Times, 02 September 2016. Reference: Cuttings Collection 104446 
  5. Martin Rowson, [Boris tramples over workers], Daily Mirror, 08 March 2021. Reference: Martin Rowson Digital Collection MRD1622 
  6. Michael Cummings, “It’s the Silly Season and the Loch N.U.M. Monster arrives, as usual, on time!”, Sunday Express, 06 September 1987. Reference: Michael Cummings Collection, Beaverbrook Foundation CU1813 
  7. Deep Digs! Cartoons of the Miners’ Strike, (London, 1985). Reference: British Cartoon Archive Library NC 1763.S87 

 

Censorship and Saucy Postcards

The cartoons for this theme were selected and described by Nadia Davies: 

Typed card with a postcard stapled to it. The postcard shows a man with a large protruding stomach looking out across a beach. There is a lighthouse in the distance. There is a sandcastle on the sand in front of him, and a small boy ('Willy') sitting in a hole digging in the sand at his feet. He cannot see him over his stomach.

Postcard designed by Bob Wilkin, I wish I could see my little willy?, D E & S Ltd.

Typed card titled 'Proceedings' with hand written entries for several rows and columns. Reads - No 1 Date 3.12.52. Court Rhyl. Defendant 5. Result OD. DPP Ref 3290/52; No 2 Date 27.10.54. Court Margate. Defendant 5. Result OD. DPP Ref 3795/53; No 3 Date 27.4.54. Court Margate QS. Defendant 5. Result OD. DPP Ref 456/54; No 4 Date 15.11.57. Court Southwell. Defendant 5. Result NO. DPP Ref 3409/57.

Typed Card from the Crown Prosecution Service recording the prosecutions for obscene postcards that took place for the card on the reverse – I wish I could see my little willy. Prosecutions took place in Rhyl, Margate and Southwell.

  1. Donald McGill, A stick of rock, cock?, Constance Ltd, Undated. Reference: Crown Prosecution Service Collection CP/0363 
  2. What rosy cheeks you have my dear, Leslie Lester Ltd, Undated. Reference: Crown Prosecution Service Collection CP/0649 
  3. Have you got two big bouncy balls please?, Leslie Lester Ltd, Undated. Reference: Crown Prosecution Service Collection CP/0700 
  4. Bob Wilkin, I wish I could see my little willy?, E & S Ltd, Undated. Reference: Crown Prosecution Service Collection CP/0438  
  5. Dave Brown, Has anyone seen my little willy?, The Independent, 05 Oct 1999. Reference: Cuttings Collection 52292 

Political Events and Crises

The cartoons for this theme were selected and described by Hannah Robson: 

  1. Brian Adcock, “So you know the so-called “Special Relationship,” well you are gonna love this!”, The Independent, 6 November 2017. Reference: Brian Adcock Digital Collection BAD0485 
  2. Victor Weisz, “McCarthy is dead! Long live McCarthyism!”, Daily Mirror, 7 May 1957. Reference: Vicky [Victor Weisz] Collection, Beaverbrook Foundation VY0890 
  3. Michael Cummings, [no caption], Daily Express, 14 November 1986. Reference: Cuttings Collection 44500 
  4. Christian Adams, Signed in Blood, Daily Telegraph, 19 October 2015. Reference: Cuttings Collection 103278 
  5. Carl Giles, Daily Express Christmas card, c.1947. Reference: Carl Giles Trust Collection CG/1/4/1/4/1 (GAC0098) 
Cartoon for a Christmas Card - of a newspaper seller, sitting near a London bus stop looking serious and downcast, with signs propped against a wall showing the headlines of the newspapers including: Evening Atom bomb latest Sunday Complete list of wars Daily Crime waves everywhere Sunday Taxes may be double Daily H bomb on the way Daily Merry Xmas to all our readers

Carl Giles, Daily Express Christmas card, c.1947. Reference – Carl Giles Trust Collection – CG/1/4/1/4/1 (GAC0098)

 

Viewing both England and the University of Kent through an Irish lens

The cartoons for this theme were selected and described by Peter McCullen: 

  1. Martin Rowson, Backwards, The Guardian, 25 May 2015. Reference: Martin Rowson Digital Collection MRD0654 
  2. Ben Jennings, [no caption], Independent, 01 March 2014. Reference: Ben Jennings Digital Collection BJD0121 
  3. Ben Jennings, [no caption], Independent, 01 March 2014. Reference: Ben Jennings Digital Collection BJD0200 
  4. Carl Giles, “Talking of cheque book journalism, do you think the editor would object to us taking that cab?”, Daily Express, 07 May 1981. Reference: Carl Giles Trust Collection CG/1/1/1/3002 (GA4259)  
  5. Carl Giles, [no caption], Daily Express, 11 November 1958. Reference: Carl Giles Trust Collection CG/1/1/1/3824 (GA5503) 
  6. Wally Fawkes, [no caption], Observer, 14 June 1987. Reference: Cuttings Collection 42646 
  7. Tove Jansson, Moomin and Snorkmaiden, Undated. Reference: Tove Jansson Collection TV0002 (Uncatalogued) 
Drawing of two moomins by Tove Janssen. Moomintroll is standing wearing a neck tie with moomins on it, facing Snorkmaiden who is looking and pointing at the tie.

Tove Jansson, Moomin and Snorkmaiden, Undated. Reference: Tove Jansson Collection TV0002 (Uncatalogued)

 

The Space Race 

The cartoons for this theme were selected and described by Elizabeth Grimshaw 

28. Michael Cummings, Increase of Fares Between London – Mars –Venus – Moon, Daily Express, 27 Jan 1953. Reference: Cummings Collection CU0522

36. Scott Clissold, “Got a spare ticket for the new Star Wars movie, mate?!”, Daily Star, 16 December 2015. Reference: Scott Clissold Digital Collection CLD0549

Colour cartoon of two aliens in a space ship talking to an astronaut on a space walk outside the International Space Station. One of the aliens speaks to the astronaut and says 'Got a spare ticket for the new Star Wars Movie, Mate?!' The astronaut looks confused.

Scott Clissold, “Got a spare ticket for the new Star Wars movie, mate?!”, Daily Star, 16 December 2015. Reference: Scott Clissold Digital Collection CLD0549

37. Osbert Lancaster, “Just think, Gretchen! Halfway to the moon! One day, perhaps, science will be able to tell us how to reach West Berlin!”, Daily Express, 14 Aug 1962. Reference: Cuttings Collection 02019

38. Carl Giles, “Be funny if the Moon Men thought she was an Earth Man and made her their ruler”, Daily Express, 05 Nov 1957. Reference: Carl Giles Trust collection CG/1/4/1/3/12/3 (GAA121419) 

The Commonwealth

The cartoons for this theme were selected and described by Dr Balasubramanyam Chandramohan:

  1. Margaret Belsky, “After all why shouldn’t the Queen protest – I expect she gets fed up with the rest of the Commonwealth criticising Britain all the time”, The Sun, 08 January 1969. Reference: Cuttings Collection 14577 
  2. Jak [Raymond Jackson], “Je demande que la Grande Bretagne soit chassee du Commonwealth si elle vend des armes a l’Afrique du sud”, Evening Standard, 20 October 1970. Reference: Cuttings Collection 18825 
  3. Michael Cummings , “Really, Mr. Stewart, it might come as a merciful release if Britain could be expelled from the Commonwealth”, Daily Express, 25 June 1965. Reference: Cuttings Collection 07292 
  4. Carl Giles, “And Rajah – be a good chap and control those long rumbling tummy noises during the Commonwealth speeches.”, Daily Express, 24 November 1983. Reference: Carl Giles Trust Collection CG/1/1/1/3239 (GA4603) 
  5. Will Dyson, Our big brother and the little strangers, Daily Herald, Undated. Reference: Will Dyson Collection WD0597 

Will Dyson, Our big brother and the little strangers, Daily Herald, Undated. Reference: Will Dyson Collection WD0597

Ronald ‘Carl’ Giles

The cartoons for this theme were selected and described by Cam Matthews: 

44. Carl Ronald Giles, “An appeal has been made for every nurse to be off duty during the inquiry into the Nurses v. Hospital Authorities dispute in Guernsey.” Daily Express, 16th July 1957. Reference: Carl Giles Trust Collection CG/1/1/1/973 (GA1328) 

45. Carl Ronald Giles, “We’ve been thinking about your parrot, Grandma. Supposing we can’t get a turkey for Christmas…” Daily Express, 25th November 1947. Reference: Carl Giles Trust Collection CG/1/1/1/3787 (GA5454) 

46. Grandma Giles doll made by Dorothy Read, Undated. Reference: Carl Giles Trust Collection CG/5/3/39 (GAX00058)  

Image of a doll of the character Grandma created by Carl Giles. Grandma is wearing a black hat with a blue trim, and a black dress. She carries a black handbag with a clasp, and an umbrella with a duck head handle, and is also wearing a brown fur stole.

Grandma Giles doll made by Dorothy Read, Undated. Reference: Carl Giles Trust Collection CG/5/3/39 (GAX00058)

47. Carl Ronald Giles, “I’m jotting down a list of all the ones who aren’t laughing their heads off.” Daily Express, 17th February 1987. Reference: Carl Giles Trust Collection CG/1/1/1/3532 (GA5027) 

48. Police Helmet, Undated. Reference: Carl Giles Trust Collection CG/4/1/45 (GAX00085) 

49. Ink, paint and paintbrushes from Giles’ studio, Undated. Reference: Carl Giles Trust Collection (uncatalogued) 

50. Carl Ronald Giles, “Well, well, well, well, well! Man have they got your number!” Sunday Express, 1st March 1970. Reference: Carl Giles Trust Collection CG/1/1/2/802 (GA2779) 

Principal Players of the Long Eighteenth Century

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In keeping with our Theatrical Thursdays theme on principal players, this post is dedicated to three eighteenth-century celebrities: Mary Robinson (1757-1800), Dorothea Jordan (1761-1816), and Sarah Siddons (1755-1831). All three make an appearance in our 1798 volume of The Lady’s Magazine which I’ve previously written about here as well as other theatrical works and women’s periodicals held in Special Collections and Archives. Women’s periodicals of this time are particularly fascinating for how they contributed to, and participated in, a growing consumer and celebrity culture. They were as much interested in what women did as what they wore – and we’re going to follow suit and explore both too.

By the time our copy of The Lady’s Magazine was published in 1798, Mary Robinson was destitute – financially and physically – having suffered a mysterious injury during a carriage ride that left her crippled. In her early twenties, she was an eighteenth-century Icarus, shooting to public attention as the Drury-Lane actress that captured the young Prince of Wales (later George IV), becoming his acknowledged mistress and taking her Shakespearean role of Perdita off-stage and off-script. She became a target for all sorts of media attention, from gossip columns to satirical prints. Also acknowledged, however, was her astonishing sense of style, which rivalled that of the Duchess of towering-plumes Devonshire – who was, incidentally, also her literary patron. Despite her tragically short life, her literary achievements number several novels, plays, poems and political tracts. In April 1798, The Lady’s Magazine printed ‘Farewell to Glenowen’ from the risqué novel Walsingham (1797), a story which charts the adventures of the cross-dressed heroine ‘Sir’ Sidney Aubrey. This deceit of dress was a popular plot device in the eighteenth century; irl, it was reserved principally for the stage, though aspersions were cast that Robinson assumed breeches during her dalliance with the Prince. She penned her own version of events in her Memoirs (1801), and Special Collections and Archives holds a late nineteenth-century copy filled with delicious details of her dresses, and illustrated with black and white plates (copies of portraits made during her lifetime). Fig. 1 gives a glimpse of early 1780s fashion, and Robinson is deliberately cultivating a domesticated look here with her pigeon-breasted fichu and mob-cap.

Image of Mary Robinson, the frontispiece to her Memoirs.

Fig. 1 Mary Robinson, Memoirs of Mary Robinson, “Perdita” (1894) – Reading-Rayner Theatre Collection (SPEC COLL SCRP 6.33)

Whilst Robinson is represented in The Lady’s Magazine principally as a poet, Dora Jordan and Sarah Siddons ranked amongst the most famous actresses of their day, and were respectively famed as the muses (aka queens) of Comedy and Tragedy. These lofty titles reflect the neo-classical flavour that came to characterise Regency culture, from the ionic columns in architecture to the elongated silhouettes of high-waisted muslins. Thalia (Comedy) and Melpomene (Tragedy) were, moreover,  positioned above the proscenium arch and thus part of the iconography of Drury Lane Theatre where Jordan and Siddons were seen to perform. What is interesting, however, is how these actresses’ titles became cemented through the press, and through women’s magazines in particular.

The Lady’s Magazine reported eagerly on London’s theatre scene throughout its run, giving regular accounts of new plays and comments on performers. The February issue for 1798 mentions Jordan in relation to Thomas Holcroft’s Knave or not, newly penned and produced at Drury Lane on 25th January that year. Unlike Mary Robinson, Dora Jordan survived the scandal of becoming a royal mistress – rather than a fling, she and the Duke of Clarence (later William IV) had a proper relationship; he became her protector, and by 1798 they’d had four children and were enjoying domestic harmony together at Bushy House. This stability perhaps enabled Jordan to keep up her industrious stagecraft and professional identity, and she never needed to pen memoirs to resuscitate a fallen reputation (despite the castigation she endured from the satirical press). Jordan was especially renowned for her singing voice and shapely legs, the latter discerned through her portfolio of breeches and travesty roles: Rosalind, Viola, Fidelia, Sir Harry Wildair, etc. The report of her performance in The Lady’s Magazine is complimentary in general, and emphasises the ‘commensurate applause’ she received. Jordan portrayed the character Susan Monrose, described as ‘an awkward but honest and sincere country girl.’ This part is designed to contrast with the ‘chaste, elegant, and pathetic’ part of sentimental heroine – Aurelia Rowland – played by Marie Thérèse Du Camp (who would, incidentally, become Sarah Siddons’ sister-in-law on marrying her actor-brother Charles Kemble in 1806).

The ‘country girl’ was a stock character of eighteenth-century comedy; she had a licence to flirt but stayed safely on the side of virtue – she was, in short, an incarnation of the comic muse. In the context of The Lady’s Magazine, ‘country girl’ is used as a shorthand that truncates Jordan’s theatrical repertoire into a single denomination – it ensures that this becomes the primary part-type for which she is known. Jordan made her London debut in 1785 playing the part of Miss Peggy, the titular heroine of David Garrick’s The Country Girl (1766) – an adaptation of William Wycherley’s The Country Wife, to whom copies are sometimes falsely ascribed (as is the case of the copy in Special Collections, see Fig. 2).

Frontispiece and title page of Wycherley's The country girl, featuring Dorothy Jordan as the country girl.

Fig. 2 William Wycherley, The country girl : a comedy (1791) – Classified Sequence (PR 3774.C6 WYC)

The image that graces this frontispiece is nearly identical to one that was published by The Lady’s Magazine which reported eagerly on Jordan’s first charismatic performance – omitting, in its imagery, the fact that this role, too, featured the adoption of breeches. Thirteen years later, the magazine uses the same terminology to describe the part Jordan plays as Susan Monrose. In doing so, The Lady’s Magazine self-consciously type-casts Jordan as a comedy actress and strengthens its own reputation for consistent and reliable journalism. When La Belle Assemblée published its own series of theatrical biographies in the early nineteenth century, it adapts a famous portrait by John Hoppner of Jordan in 1785 to accompany her memoir. (Fig. 3) The original painting depicted Jordan as the Comic Muse in company of Euphrosyne and a menacing satyr. La Belle Assemblée removes the accompanying characters and conflates Jordan with Euphrosyne in order to function as an illustration of her playing a theatrical part from John Milton’s Comus (1634). As the classical goddess of merriment, this is arguably another incarnation of the comic muse, simply the high-brow equivalent of the country girl. The magazine’s choice is therefore an act of editorial one-upmanship, supporting its own pretensions as much as securing Jordan’s status.

Plate from La belle assemblée, featuring Dora Jordan as Euphrosyne, and accompanying her biography..

Fig. 3 La Belle assemblée : being Bell’s court and fashionable magazine, addressed particularly to the ladies vol. 10 (Nov 1814) – Classified Sequence (PER AP 4.B31)

Plate from La belle assemblée featuring Sarah Siddons as the tragic muse, and accompanying her biography.

Fig. 4 La Belle assemblée : being Bell’s court and fashionable magazine, addressed particularly to the ladies vol. 5 (Feb 1812) – Classified Sequence (PER AP 4.B31)

In a neat fait accompli, La Belle Assemblée paired Siddons’ memoir with an engraving of Reynolds’ 1784 portrait of the actress as the tragic muse. (Fig. 4) It is an image designed entirely to evoke homage, and paeans to Siddons are common throughout the eighteenth- and nineteenth-century world of print. Siddons started her career on the provincial circuit before rising to fame in London in 1782 and cultivated a professional profile as maternal tragedienne. She was known to bring her children on stage with her, embodiments of her marital fidelity and mascots of virtue to stave off the satirical press. The Lady’s Magazine for 1798 offers an example of her extensive fandom, printing ‘Lines written on seeing Mrs. Siddons, as Mrs. Haller in “The Stranger,” Friday, 25th of May; and as Isabella, in “The Fatal Marriage,” Monday, 18th, 1798. By Capel Lofft, Esq.’ Mrs. Haller and Isabella were, indeed, two of Siddons’ most famous stage roles, both naturally tragic characters, and Special Collections holds theatrical works that give insight to Siddons’ performance of these parts and to Regency costuming as well. I want to finish this post with my favourite finds: Elizabeth Inchbald’s British Theatre (1806-8) and William Oxberry’s New English Drama (c. 1818-26). These series printed popular plays alongside illustrations and forewords that reflected contemporary productions, including those of The Stranger and Isabella; or, the fatal marriage. In comparing the two (Figs. 5-7) we can see an interesting contrast in theatrical wardrobes, from the white muslin of an unabashed Mrs. Haller to the Van-Dykd velvet of the swooning Isabella. The stage, of course, was (and always will be) a place where contemporary fashions and fanciful costumes vie with each other.

Plate of Sarah Siddons in the role of Mrs Haller, accompanying the play The Stranger, in Oxberry's edition of New English Drama.

Fig. 5 William Oxberry, ed. New English Drama (1806-1808) – Pettingell Collection (PETT BND.86(5))

Page detailing costume designs for The stranger to accompany the play in Oxberry's edition of New English Drama.

Fig. 6 William Oxberry, ed. New English Drama (1806-1808) – Pettingell Collection (PETT BND.86(5))

Frontispiece illustration to Isabella in Elizabeth Inchbald's The British theatre, volume 7.

Fig. 7 Elizabeth Inchbald, ed. The British theatre : or, A collection of plays, which are acted at the Theatres Royal, Drury Lane, Covent Garden, and Haymarket vol. 7 (1808) – Classified Sequence (PD 1269.B7)

Dan Thompson – zines and artist books collection

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We’ve recently been very lucky to receive a fantastic collection of almost 300 zines and artist books from artist, maker and collector, Dan Thompson.

Dan lives in Ramsgate and runs a studio out of Marine Studios in Margate. He works nationwide on projects centred around people and places. Below is his story about this fantastic collection. You can browse the collection here: https://archive.kent.ac.uk

A photograph of 8 publications, their covers facing the viewer.

A selection of Dan’s publications in the collection, 997-2022 (DTC/ART/01)

“I’m a collector. I have collected since I was a child (my mum is a collector, too, with a love of the 1920s and 1930s – my dad had collections of stamps and of cigarette cards – and my uncle was an antique dealer). I have collections connected to the First and Second World Wars, to the printing industry, of studio pottery, of 7” soul singles.

But sometimes, collections creep up on you.

A photograph of 3 issues of Gay Christian zine, each photocopied on to pink paper.

Gay Christian zine, 1983-1984, found by Dan Thompson discarded at the British Juggling Convention, Ramsgate in 2022 (DTC/ZIN/02)

Back in the 1990s, I worked with a number of bands – and knew many more – who were on the fringes of Britpop.

Britpop retrospectives always feature two iconic magazine covers, Select with an image of Brett Anderson from Suede and Vanity Fair with a photo of Liam Gallagher and Patsy Kensit under a Union Jack duvet.

But the bands that originally made up the scene were better represented in Fantasy Y Fronts, a thick photocopied zine made by two fans, Mel and Sal. (There were lots of zines around back then, and the best ones were made by women.) Who remembers S*M*A*S*H, These Animal Men, Tiny Monroe, Thurman, Compulsion, Mantaray and co? I do, and they’re all in here.

I used to correspond with Fantasy Y Fronts, in the days when you had to write and post a letter. Finding the best bands, and being part of the scene, took time and commitment.

I kept a couple of copies of Fantasy Y Fronts as a souvenir of that time (I wish I’d kept the correspondence, too), and they’re the foundation this collection is built on.

Photographs of the covers of two issues of Fantasy Y-Fronts zine, balck and white photocopies with images of bands alongside text and logos.

Two copies of Fantasy Y-Fronts in the collection, 1994 (DTC/MUS/02)

 

Added to them are thirty years of things I never consciously collected.

It includes more music zines, including a small collection given to me a few years ago by the manager of Welsh band 60 Ft Dolls. There are political zines and pamphlets, including copies of Occupied Times from the Occupy movement that echo 1960s publications like International Times.

There are things made by artists I’ve known and worked with, like Charles Tolfree and Alice Angus. I’ve curated exhibitions and programmed events across England, so these come in geographical clusters: Brighton and Worthing, where I lived, then Margate, and Stoke-on-Trent where I have worked since 2014.

A photograph of 7 issues of Happy Hood zine, their covers facing the viewer.

Happy Hood zine by Laura Graham and Paige Taylor, 2017-2018 (DTC/PLA/04/01)

There are publications like Happy Hood, halfway between a zine and a local magazine, produced by my friend Laura Graham in Northampton.

There are all sorts of things, from all sorts of places, in all sorts of formats. There’s poetry and photography, and creative writing and cartoons.

A photograph of the cover of GirlFrenzy zinie, blue cover with a drawn image of a woman playing a guitar

GirlFrenzy zine, 1998 (DTC/MUS/11)

It’s a mismatched collection because I never set out to collect zines. These are souvenirs of projects, reminders of places I’ve been, gifts or exchanges with people I know – a collection of moments in time. They all originally belonged to other loose collections but a few years ago, I realised that if I took those collections apart (Britpop, or Things About London, or …) the constituent parts made a new collection, of what could be loosely termed artist’s books, zines, and small press publications.

 

 

A photograph of the cover of a zine, featuring a portrait of an older man.

Cummerbundery (Vol 1): The collected tweets of Brandon Cummerbund, 2010 (DTC/ART/08/06)

 

As an artist, I like this reshuffling of knowledge, this reframing of things in different ways. And that’s why I am pleased to be handing the collection, well over a hundred assorted items, to the University of Kent’s Special Collections, where it will be a cornerstone of their growing collection of zines and artist’s books. Because it’s a pack of cards that can be shuffled many ways, and I look forward to seeing who shuffles it and what they turn up.”

 

Zines Zines Zines! New exhibition in the Templeman Gallery

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Title of exhibition - Zines Zines Zines - written in a DIY ransom note font

Come and see our new exhibition in the Templeman Gallery about the history and development of zines, and featuring zines from the Queer Zine Library – which will be up throughout September 2023.

What are zines?

Zines are do-it-yourself publications – often in the form of photocopied booklets. They are either unique items or have a limited number of copies in circulation. They are cheap to make, require no particular skills to create, and have hugely varied content including art, poetry, cartoons, collage, interviews and commentary. The history of zines is rooted in radical political self-publishing and provide an opportunity for expression of views and perspectives outside of the mainstream press.

What is in the exhibition?

View of an exhibition case with two information boards to the left. The exhibition case contains a range of zines and small press publications with captions alongside.

Display of zines and small press publications from Special Collections and Archives that highlight the history of zine making and self publishing.

The exhibition features examples of zines and small press printing selected from across our collections in Special Collections and Archives – including from the British Stand-Up Comedy Archive, the Modern Firsts poetry collection, examples from our artists’ books collection, and our new zine archive donated and collated by Dan Thompson.

These zines provide examples from across the history of zine making from early 18th century pamphlets (such as ‘Common Sense’ by Thomas Paine) to Beat Poetry in the mid 20th century to zines created by comedian Josie Long in her Kindness and Exuberance tour in the 2000s.

 

 

 

 

 

 

We are also delighted to host a selection of zines from the Queer Zine Library – a mobile DIY library celebrating radical LGBTQIA+ zines and self–publishing. With huge thanks to Holly Callaghan, one of our amazing Divisional Liaison Librarians, who organised the loan of the material from the Queer Zine Library and provided the captions about each item on display.

And finally, we are also delighted to feature some beautiful and moving examples of artists’ books created by participants in the Open Book project, a book-making project organised by the Canterbury Festival offered to those living with dementia to express their experiences both visually and through text. With thanks to Amanda Sefton Hogg at the Canterbury Festival for providing these examples from the project to include in the exhibition.

Get a Free Zine and Make Your Own!

You can pick up a free info-zine about the exhibition, and even have a go at making a zine yourself at the making station. We can’t wait to see your creations! You can share a picture with us by emailing specialcollections@kent.ac.uk.

Image showing table in the exhibition space with three piles of free info-zines for people to take away, some paper and pens for people to make their own zine, and an information board about zines at the University of Kent

The making station in the Templeman Gallery exhibition space where you can make your own zine

Small black and white zine, standing up with the front cover visible showing the text "Zines Zines Zines! Templeman gallery A Block 1st Floor. Aug/Sept 2023. An exhibition about the history and development of zines! Featuring items from Special Collections and Archives AND the Queer Zine Library!" In the background of the image in soft focus are other copies of the zine displayed on the table.

Free info-zine about the exhibition. Come along and take one.

 

Cartooning Covid-19 – call for volunteer participants

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About the project 

Nicholas Newman, The Sunday Times, 01 Mar 2020. ©
Nick Newman (ref: 109242)

‘Cartooning Covid-19’ will be a 10-week volunteering project which aims to make available cartoons published in national papers during the Covid 19 pandemic between March and December 2020. Through cataloguing these cartoons, we ensure that this important period in recent history is captured in the cartoon catalogue of the British Cartoon Archive for use in learning, teaching and research.

The British Cartoon Archive collects the cartoons published each week in national newspapers (The Times, Daily Telegraph, Daily Mail, The Guardian and The Independent). This encapsulates work by artists such as Bob Moran, Nicholas Newman, Peter Schrank, Morten Morland, Peter Brookes and more. 

 

To participate in this project please email cartoons@kent.ac.uk. 

Practicalities 

The project will be carried out using a hybrid model of in-person group sessions and remote virtual cataloguing. However, this opportunity is open to all, so if you do not live locally to Canterbury, you are welcome to join as a fully remote participant. Similarly, if you would prefer to participate in person only, that’s ok too. 

Volunteers will be provided with full training as part of the project, including sessions from the archive team about the BCA and the work they carry out to preserve it and make it available, and they will be given access to library resources where possible, such as newspaper archives and both physical and digital cartoon collections. 

Volunteers will be given a set of cartoons published between March and December 2020, which they will be asked to catalogue by listing details about the cartoons into a spreadsheet with supervision from the Special Collections and Archives team. At the end of the project the resulting spreadsheets of data will be uploaded to the British Cartoon Archive catalogue alongside digital cartoon copies, making these resources available to the public.  

Special Collections and Archives will provide refreshments at in-person events (lunch will not be provided). 

Michael Heath, The Mail on sunday, 05 April 2020. ©Associated Newspapers Ltd. (ref: 109333)

Schedule 

  • In-person sessions will be held fortnightly on Tuesdays from 3rd October through to 5th December 2023 (10 weeks). Sessions will run from 10:30-16:00 with an hour break for lunch. For online only participants, you would be invited to attend the welcome day sessions virtually on Tuesday October 3rd, after which you will be provided with digital copies to describe and catalogue. 
  • Optional online drop-in sessions will be scheduled virtually (via Microsoft Teams) for one hour every other week from Thursday 12th October. These sessions will enable Special Collections and Archives to provide virtual support for volunteers between in-person sessions, while also providing an opportunity for socialising and peer support. 
  • Volunteers are encouraged to participate remotely between in-person sessions. Resources will be made available online through Google Drive.   

Requirements 

There are no specific prerequisites for participating volunteers, however this project will likely suit those with an interest in political satire, art and graphic design, UK politics, or those wishing to learn more about archives.  

Volunteers should be comfortable with using websites and online catalogues, and in using spreadsheets. 

A laptop will be needed for participation during in-person sessions.  These can be supplied by Special Collections and Archives on request, but numbers are very limited so please indicate in advance if this is required. Volunteers are encouraged to provide their own devices where available.  

For remote participation, volunteers will need to have their own laptop or personal computer with internet connection, as well as access to a Google account.  

To participate in this project please email cartoons@kent.ac.uk. 

Morten Morland, The Times 27 April 2020. ©News UK (ref: 109373)