All posts by bethanygoodman

New catalogue: the postcard collection of the artist Tom Phillips, part 2

19th century, 20th century, Archives and Modern Manuscripts, Cataloguing, Humanities, Modern, Newly available (2024), , , , , ,

by Bethany Goodman

NOTE: This post discusses themes of death and racism.

 

The artist Tom Phillips (1937-2022) pursued numerous interests throughout his lifetime, one of which was his extensive collection of photographic postcards. The Bodleian has acquired this collection, which ranges from the late 1890s into the 1960s, and it is now catalogued and available to readers at the Weston Library. Further background to this collection was covered in a previous post [part 1], which also highlighted the postcards’ often humorous nature.

However, the collection is intended to present a holistic view of our collective human nature, and human nature isn’t always so light-hearted. The postcards are as broad in scope as they are in number, encapsulating the events and trends of the wider world in which their subjects lived. This postcard, for example, seems innocuous enough until you turn it around and read the message, and the scene is retrospectively contextualised in a darker light.

Figure 1 MS. 19966/88

 

 

 

 

 

 

 

 

 

 

 

War is a pervasive theme within the collection, with numerous boxes dedicated to depictions of the service of both men and women. Its impact is also clearly seen, both through the box labelled ‘War Wounded’ and the individual stories which some postcards tell.

This postcard depicts Harold, and his wife Allie, shortly before the outbreak of World War I. Turning the card over, a bleak picture of the impact of war is immediately visible, as we learn of Harold’s death. The author dates this tragedy to 1914. However, it is likely that Harold Oxford actually died on the 10th August 1915, as the Dardanelles Campaign did not begin until February 1915. This image was likely originally taken for cheerful posterity, but, over the course of a few years, the impact of world events turned the postcard into a memorial instead.

Figure 2 MS. 19966/11

This postcard depicts a different Harold, serving as a leading aircraftsman in the RAF during World War II. Unfortunately, his postcard represents the majority within this collection, with little or no further information available to link the subjects to their personal stories. In the case of this Harold, we have little insight as to who he was, where he served, or if he survived the war.

Around 28 million military personnel died in World War I and World War II. Several hundred service men and women are depicted within this collection, therefore it is likely that many of them were killed during the same conflicts which their postcards were intended to commemorate.

Figure 3 MS. 19966/16

 

 

 

 

 

 

 

 

 

 

 

Even without the presence of corresponding messages, the images of the postcards themselves often convey a damning reality, as is the case for the numerous examples of racism and othering portrayed within this collection.

Just over 15% of the boxes contain at least one instance of racist imagery. In most cases this is in the form of blackface. In one box, a racial slur is used, followed by postcards which depict people ‘dressed up’ as both a Ku Klux Klan member and Hitler. Amongst the images of new puppies, manicured gardens and proud shopkeepers, a parallel side of society emerges.

The starkness with which these attitudes and portrayals are represented is confronting.

Tom Phillips perhaps aimed to acknowledge this, as he compiled a collection which showcases the multi-faceted nature of the world we live in – both the good and the bad.

New catalogue: the postcard collection of the artist Tom Phillips, part 1

19th century, 20th century, Archives and Modern Manuscripts, Cataloguing, Humanities, Modern, Newly available (2024), , ,

by Bethany Goodman

A collection of photographic postcards, supplemental to Tom Phillips’ primary archive, is now catalogued and available to readers at the Weston Library.

Tom Phillips (1937-2022) studied at St. Catherine’s College before undertaking a varied career, teaching art, including a stint as the Slade Professor of Fine Art at Oxford University; creating art, including portraits, tapestries, sculptures and art books; writing operas, such as Irma (1970); and serving on several committees for cultural bodies, including the British Museum.

Another personal passion, however, was his collection of photographic postcards. Phillips collected around 50,000 of them throughout a lifetime of scouring flea markets and collectors’ fairs, which the Bodleian has now acquired.

Tom Phillips authored a book on the subject, The Postcard Century (2000), and curated a National Portrait Gallery exhibition, We are the People (2004), but perhaps his view on the legacy of the format is best seen through the postcards themselves.

The collection has been maintained in the original order and categories which Tom Phillips himself arranged them in. The scope of content ranges across the whole spectrum of human life, from ‘Babies’ to ‘Workers’ to ‘Weddings’ to ‘Family Groups’ to ‘Funeral’. It stops off at expected places in-between, such as ‘Sport’, ‘Gardens’, ‘Toys’ and ‘Animals’, as well as the unexpected, with ‘Fantasy transport’ perhaps a highlight on that front.

Ranging from the late 1890s into the 1960s, the collection presents a rich visual resource for historians and researchers, while also showcasing one of our most ubiquitous human characteristics: a desire to be remembered.

What follows are a selection of some of the department’s favourite postcards, to offer an idea of the breadth (and humour) of the collection.

Figure 1 (Toys, MS. 19966/41)

 

Abigail Spokes –

‘When she’s out of oat milk’

 

 

 

 

 

 

 

 

 

Figure 2 (Knitting, MS. 19966/88)

 

Amanda Sykes –

‘Waiting for someone to say “I like your outfit” so you can say “thanks I made it myself!”’

Figure 3 (Cats, Birds, Pets etc., MS. 19966/68)

 

 

 

 

 

 

 

 

 

Bethany Goodman –

‘Typical weekend plans’

 

 

 

Figure 4 (Readers & Writers, MS. 19966/18)

 

 

Charlotte McKillop-Mash –

‘Oscar Wilde cosplay?’

 

 

 

 

 

 

 

 

Figure 5 (Rural / Agriculture, MS. 19966/28)

Evie Morris – ‘Growing up, we didn’t have a farm but my dad wished we did and kept loads of crazy animals. I desperately wanted geese and one year we tried to hatch a dozen, and got one. I named her Sandy and loved her dearly until my parents gave her away. The look in this lady’s eye says she is suspicious that her fowl might also be taken away. She looks wise to the game, and mischievous’

Figure 6 (Cats, Birds, Pets etc., MS. 19966/68)

 

Francesca Miller –

‘The life of a cat owner – once again forced to stand because your cat has stolen your chair!’

 

 

 

 

 

 

 

 

Figure 7 (Horse & Donkey, MS. 19966/14)

 

 

Hannah Jordan –

‘She is too small for that horse’

 

 

 

Figure 8 (Figures in a landscape, MS. 19966/46)

 

 

Marion Lowman –

‘Best foot forward’

 

 

 

Figure 9 (Dogs, MS. 19966/42)

 

 

Miranda Scarlata –

‘Nobody sent me the memo that we were wearing monochrome today! – said from the perspective of the dog’

May Day celebrations

20th century, Archives and Modern Manuscripts, Cataloguing, Humanities, Modern, Newly available (2024),

by Bethany Goodman

Happy May Day to those who celebrate, and well done if you’re still awake from May-eve yesterday.

May Day has a rich history in Oxford, with Magdalen College Choir playing a particularly large part in the day’s proceedings if you’re dedicated enough to make it into town for the 6am start.

Celebrations have happened across the country for centuries, with standard festivities including the anointing of a May Queen, maypole dancing and Morris dancing.

The artist Tom Phillips had an abiding interest in photographic postcards, collecting around 50,000 of them from junk shops and flea markets and painstakingly categorising and sorting them by theme. This rich collection is now in the Bodleian (catalogue online soon) and one box, ‘Patriotic & Fete: May Queen’, presents a view of the enduring nostalgia of May Day. It especially captures the role of children in the celebrations, from a particularly young Queen (where is her Regent!), to a proud note highlighting the dedication of a group of children to their contribution in the festivities.

Figure 1 The May Queen (MS. 19966/73)

Figure 2 Maypole dancing (MS. 19966/73)

 

New catalogue: the archive of Richard Shirley Smith

20th century, 21st century, Archives and Modern Manuscripts, Cataloguing, Humanities, Modern, Newly available (2024), , , ,

by Bethany Goodman

The archive of the artist Richard Shirley Smith is now catalogued and available to readers at the Weston Library.

Figure 1 Photograph of Richard Shirley Smith (MS. 21920 photogr. 44)

Richard Shirley Smith began his artistic career studying at the Slade School of Fine Art, before moving to Rome for a few years, a period reflected in a large portion of his following work. In 1963 he became a lecturer at the St. Albans School of Art, before taking up a position as Head of the Art Department at Marlborough College in 1966. Although he continued creating artwork throughout this time, it was during the 1970s when his work began to gather momentum.

From the late 1970s into the 2000s, Shirley Smith’s murals were a fixture in London’s interior design scene and featured in a number of magazines, including Vogue. Today, we are fortunate to have three such murals on display in the Weston Library, which we welcome readers to view next time they visit.

Not to be confined to bricks-and-mortar, Shirley Smith also established his work in the publishing world. His intricate wood engravings graced the cover and filled the pages of numerous special edition publications, including those produced by The Folio Society. Additionally, he was commissioned to create bookplate designs for several society figures, each showcasing the individual personality of the client, including several appearances of family pets. His contributions to a florilegium for Highgrove House, designed in conjunction with Charles III, then Prince Charles, can be considered a highlight.

Figure 2 Pulcinella Engine Driver (Second Version) ©Richard Shirley Smith, sourced from richardshirleysmith.co.uk

It is with his paintings and collages, however, that we see Shirley Smith’s own artistic preferences come to the fore. Included amongst these works are several paintings depicting groups of mischievous Pulcinella, my personal favourites, alongside thoughtfully constructed still life scenes and fabulous surrealist designs, many of which were displayed during a comprehensive exhibition at the Ashmolean in 1985.

The archive contains a small number of personal papers and materials relating to various publications and exhibitions. However, the strength of the collection lies in its representation of the diverse breadth of Shirley Smith’s work, with an extensive series containing original artwork in the form of: sketchbooks, prints, photographs, planning works and over 150 printing blocks, including both linocuts and woodblocks. This material presents a comprehensive overview of Richard Shirley Smith’s oeuvre, providing a wonderful snapshot into the work and life of an influential modern British artist.

Figure 3 Woodblock for A Point of Departure (1967) (JL 1072/9)