Category Archives: Cataloguing

Updated Catalogue: Conservative Party General Election Publications

A selection of the Conservative Party Archive's holdings of general election manifestos.

A selection of the Conservative Party Archive’s holdings of general election manifestos. [Shelfmarks: CPA PUB 155/17, 155/3, 155/5, 155/6/1, 155/12/2, 156/4, 157/4/1, 158/1, 255/1, 443/1.]

As Britain prepares for a general election on December 12th, the Bodleian is pleased to announce the launch of its revised catalogue of Conservative general election publications, incorporating new material made available to readers for the first time. The catalogue, which forms part of the Bodleian’s collection of published Party material, covers the Party’s historical series of election publications, including Conservative manifestos going back as far as the 1920s. The new catalogue also includes a much-expanded series of ad hoc publications produced by the Party for specific election campaigns, as well as historical guidance on election petitions.

As a concise record of the Party’s policy platform, the general election manifestos of the Conservative Party have been a vital source to historians of British politics, enabling researchers to clearly trace the evolution of Party thinking over the years. The updated catalogue now includes copies of the Conservative Party manifesto (in various formats) from the time of the 1922 general election through to the present day. The revised catalogue also includes a number of national, regional and specialist editions of the Conservative manifesto, providing further glimpses into the complexity of British electoral politics.

Pictured: a selection of Conservative Party manifesto variations produced for voters in Scotland, Wales and the English regions.

A selection of Conservative Party manifesto variations produced for voters in Scotland, Wales and the English regions. [Shelfmarks: CPA PUB 155/12/3-4, 155/22, 157/1/2, 157/4/5, 158/13, 158/5.]

In addition to the Party manifesto, this collection also includes historical guidance published by the Party for the use of candidates and activists. The Speakers’ Notes series (also published under the titles Candidates’ Notes and Notes for Speakers) contained summaries of the key election issues along with suggested lines to take and statistical information, providing us with a ‘behind the scenes’ perspective on the Party’s election campaigns. Other running series included in the catalogue are the Election Manual, which provided practical guidance to agents, and Questions of Policy, which provided clarifications of manifesto policy in response to questions raised during the election campaign.

Pictured: copies of Speakers' Notes (and later titles) produced for the 1983, 1987, 2010 and 2015 general elections.

Copies of Speakers’ Notes (and later titles) produced for the 1983, 1987, 2010 and 2015 general elections. [Shelfmarks: CPA PUB 445/3, 445/4, 445/8, 445/9].

The new catalogue is available to view online on the Bodleian Archives and Manuscripts platform, accessible here. In the coming months we will also be publishing a companion catalogue for the Conservative Party’s European Election publications, which we hope will be of further use to students and researchers of British political history.

The Conservative Party Archive is always growing, and we are keen to collect campaign materials produced for the 2019 general election. Specifically, we are interested in the following items:

  • Conservative Party leaflets and election ephemera.
  • Election addressees (election communications) produced by candidates of all parties.

If you would like to donate any election material you receive during the campaign, please post it to: Conservative Party Archive, Department of Special Collections, Weston Library, Bodleian Libraries, Broad Street, Oxford OX1 3BG

 

What’s The Catch? Before Daniel Meadows’ Free Photographic Omnibus there was his free photographic studio, Moss Side

The first version of the catalogue for the Archive of Daniel Meadows, photographer and social documentarist, is available here. Meadows is distinguished for his tour of England in the Free Photographic Omnibus, 1973-1974, amongst many other works. This was a project he returned to in the mid 1990s to rephotograph those he had met and taken pictures of around England in the 1970s, culminating in his series of National Portraits: Now & Then, which have been exhibited both at home and abroad.

The portraits and related material from Meadows’ archive, such as national and international press coverage, are currently on display for a special exhibition in Blackwell Hall, where admission is free and everybody is encouraged to come and see. But for now, let’s take a look at what drove (pun unintentional) Meadows to tour England in a double decker bus for fourteen months.

dirt, smoke, rain and people

Meadows was born and raised in Great Washbourne, Gloucestershire, and although his time spent as a photography student at Manchester Polytechnic did not negate his appreciation of where he came from, it is clear that Meadows revelled in instilling his independence and resourcefulness in new environments. In January 1972 he rented a dilapidated barber’s shop in Greame Street, Moss Side and converted it into a photographic studio in which any local people who wandered in could have their picture taken, free of charge.

In a typescript, arranged with prints interspersed from his studio at Greame Street, titled ‘What’s The Catch?’, Meadows writes

‘Before coming to Manchester I had always lived in the most isolated and luscious countryside that this country had to offer. Moss Side Manchester is the extreme opposite, and yet, far from yearning for the sight of a cow or the smell of freshly-mown hay, I have come to love it for what it is; dirt, smoke, rain and people.’

On the next page, referencing the coming and going of the people, he writes

‘This is what I particularly like about the shop. As an [sic] habitual photographer of street life I am used to a constantly changing environment . A shop environment, then, seems to be contrary to the candid picture-making of the street. The opposite is true; the shop is merely an extension of the street and the people come in and go out in the same way as they walk the paving stones.’

(MS. Meadows 46, folder 1, ‘What’s The Catch?’)

Daniel Meadows outside his free photographic shop on Greame Street, with Moss Side residents, 1972.
MS. Meadows 46, folder 2. [photographer unknown]

‘I feel that, as a photographer who lives in the area, it is my job to make a record of a way of life which is to be destroyed’

Rather than Meadows actively seeking out photographic subjects for the Greame Street studio, he would take photographs of anybody and everybody who asked.  This is a significant characteristic Meadows would retain throughout the tour of the Free Photographic Omnibus. Through the nights of the tour, Meadows would develop the film and produce two copies of the portrait: one of these copies was always given to the person photographed.

As a student, Meadows’ sincere interest in the people and their everyday lives resonates, and his integrity is there in black and white. Meadows writes in July 1972 that

‘The reason for making photographic portraits of the inhabitants of Moss Side is that, with the demolition of the terraced houses, the population will be dispersed since many of the tenants will not be able to afford the increase in rent […] More than just the Victorian Terraces will go: a close knit community will be split up. I feel that, as a photographer who lives in the area, it is my job to make a record of a way of life which is to be destroyed.’

He goes on to write that Moss Side

‘[…] is, however, not alone in it’s plight among places where the quality of life is threatened by necessity for social change […] Over-population and environmental pollution are the poisons of the age and never before has man been forced into the situation of having to decide what kind of a future he wants for himself and his children. […] The free photographic studio was a pilot scheme for a much larger undertaking, namely to purchase a reconditioned second hand double decker bus for around £250 and travel up and down the length of the country making a record of the quality of life in England in 1973-1974.’

(MS. Meadows 50, folder 1, a circular entitled ‘Details of proposal’ distributed for help with sponsorship for the bus, July 1972)

Daniel Meadows standing in front of his newly purchased (second hand!) Bus on 24 July 1973
MS. Meadows 54. [photographer unknown]

A year later, on 24 July 1973, Meadows purchased the second hand double decker bus from Nottingham, and the journey of the Free Photographic Omnibus’ would begin.

 

 

The Halls on ‘Grand Tour’: Travelling the Continent in the early 19th century (and keeping diaries about it)

Guest post by Katherine Knight
Summer intern at Bodleian Libraries Archives & Modern Manuscripts


Many of us today may be tempted to keep some kind of record of our holidays: but very rarely do we imagine they will survive for another two-hundred years. Thomas Kirkpatrick (‘T.K.’)  Hall (1776-1865) and his wife Elizabeth, née Crompton, did the same as many of the English wealthy in the 19th century: they commenced their own ‘Grand Tour’ of Europe. Passing through Kent to France, Switzerland, and Italy, the couple spent thirteen months from the years 1818-1819 touring the continent, and recorded their individual experiences in seven volumes.

Leaving London on 2 June 1818: The first page of Thomas K. Hall’s diary, and the beginning of a journey.

The spines of Mrs Hall’s journals, Vols. I-III

Interestingly, the two appear to have had very different approaches to how to keep their respective journals. While Eliza Hall kept a mostly meticulous account of her travels, with detail given to the activities of each day, she did find that in busy times she got somewhat carried away with the excitement of travelling – as many of us do with our own attempts to journal. When in Rome, she listed the places visited on each day without description, with the details evidently added afterwards from other records.

When in Rome, see all the sights: A tourist’s busy cultural and social schedule in December 1818. The diary also mentions the Halls meeting Lord Byron in or near Rome.

It is here that having a dual account proves invaluable, as T.K. Hall filled in the details of what was missed with elaborate strokes. While in awe of the wonders of St Peter’s Basilica, he was not, however, impressed that there were no special services on Christmas Day – and, even more surprisingly, believed the Sistine Chapel did not live up to expectations!

This temporary lapse in narrative is surprising, as otherwise Eliza’s narrative is meticulous. Her journal is kept in three blue-bound hardback volumes and is immensely detailed.

‘So large an English congregation so far from home’ – church service in Geneva, as described by Eliza Hall [July 1818].

T.K. Hall, while keeping a studious diary of daily affairs, focused on one thing above all: the accommodation. In a sheet pasted into the front cover of one of his two volumes, we can find a handwritten list of hotels, accompanied by the city and rating. A ‘19th century Trip Advisor’, as one might say – and he seemed to have been hard to please, with most of the hotels being labelled ‘so-so’. His journal also offer some interesting details of life on the road. On the last stretch of the journey, Mr. Hall remarks that there was a slight mishap with the carriage overturning – not an occurrence one would be likely to encounter today, although an illness which threatened to derail the holiday is more commonplace.

From ‘very bad’ to ‘excellent’: Thomas K. Hall’s hotel ratings. How many points out of 10 would equal ‘tolerable’ or ‘indifferent’?

Tours and excursions – on mule, on horse, in boat, on foot

Nevertheless, there are several similarities between the style of the two works, right down to the list of towns and distances between which can be found pasted into the covers of each journal. It is tempting to picture the two discussing their journeys, calculating the distances between and making a meticulous log together. Fittingly, both end on the same phrase: thanking God for preserving them on their pleasant journey through the continent.

Mr Hall clearly liked his lists: 3176 miles from Geneva to Brussels (with a few detours, that is)

In a time before travel photography, it is particularly interesting to see a different kind of holiday picture: two volumes of watercolours and sketches by Eliza Hall of various places around Europe. And the landscapes were continued beyond the pair’s brief holiday: the sketches continue through the years, with landscapes of Wales contained amongst the European memories.

An Alpine view, captured in watercolours by Eliza Hall

Heidelberg Castle, 1819

We have some details of the lives of the Halls – like many at the time, they came from a legacy of sugar plantation ownership. It makes for uncomfortable reading today, but is perhaps not surprising when one considers the expense required to embark upon a thirteen-month journey around the continent. The records of life of the Victorian participants of the Grand Tour must inevitably be laid against the background of such sources of income: indeed, it continues to be the foundation of much wealth even today.

– Katherine Knight, University College
Oxford University Careers Service Summer Internship Programme


The late 1810s and 1820s seem to have been popular time for doing the ‘Grand Tour’:  Just as the Halls, Thomas FitzGerald (1788-1860) set out on travel France and Switzerland in 1818/1819, and he returned to the Continent for a combination of tourism and studies in Italy in 1822/1823. His travel diaries and notes are now in the family papers series of the archive of his granddaughter, the scientist Mabel Purefoy FitzGerald (MS. Mabel FitzGerald 81).


 

Music Manuscript Catalogues Go Online

The Bodleian Libraries house rich collections of music manuscripts dating from medieval times to the present and include such highlights as Handel’s conducting score of Messiah, Holst’s suite The Planets and Mendelssohn’s Hebrides overture. Anyone who has used the Bodleian’s music manuscript or archival collections over the years will be used to grappling with a confusing array of different findings aids. Apart from a few old collection-level entries in the Online Catalogue for Archives and Manuscripts, we have had to rely on various paper catalogues and handlists, published and unpublished, which readers can rarely navigate successfully without help from Music section staff. These include: the published Summary Catalogue of Western Manuscripts (for manuscripts acquired up to 1915), supplemented by large numbers of typescript revisions to the Summary Catalogue descriptions; typescript descriptions of post-1915 acquisitions, the more recent of which also exist as MS Word files; published catalogues for the Deneke-Mendelssohn and Tenbury collections, both of which have accumulated long lists of corrections and amendments over time; boxlists for various uncatalogued collections, such as Ella and Sterndale Bennett. Such finding aids were only partially indexed so locating material has always been dependent to a large extent on the knowledge and experience of staff.

Original conducting score of Handel’s Messiah (MS. Tenbury 346, fol. 66r)

Thanks to a very generous donation, we are now well into a three-year project which aims to incorporate the content of these various finding aids into the online catalogue as well as tackle a range of music manuscripts and archives which have hitherto had no catalogue description. So far, a number of uncatalogued manuscripts and collections have been catalogued while the existing finding aids were sent off to have their contents keyed into machine-readable form for the online catalogue. The two strands of converting the existing finding aids and new cataloguing will continue side-by-side for the remainder of the project which is due to finish in the summer of 2021. By this time, if all goes to plan, all of the Bodleian Libraries’ music manuscripts and music-related archives will have entries in the Online Catalogue for Archives and Manuscripts, which is itself undergoing a system upgrade and facelift. The first collections should start to appear online in the Autumn of 2019 and will be added to gradually as catalogues are completed.

Catalogues of the Bodleian’s Music holdings

To have online access to any of this information is a major step forward for users of our collections and the beauty of an electronic catalogue is that it can be added to and improved over time.

Martin Holmes, Alfred Brendel Curator of Music

Wilfred Owen Archive: New catalogue

The Wilfred Owen archive has just been fully rehoused and catalogued, with a detailed list of items available online. The collection has had a lively existence thus far, with the bulk of it donated by Harold Owen in 1975 to the English Faculty Library. Wilfred’s cousin Leslie Gunston donated the Gunston collection in 1978. Small additions have been made since then, and the collection now includes the working papers and correspondence of two prominent Owen scholars, Dominic Hibberd and Jon Stallworthy. The entire collection was transferred to the Weston Library on 13 January 2016.

Following a month of work, the collection has been reordered and renumbered, although the former, widely-cited OEF (Oxford English Faculty) references are included in the catalogue, as are references to Jon Stallworthy’s transcripts in Wilfred Owen: The Complete Poems and Fragments (CPF).

Wilfred Owen’s literary papers make up the first six boxes (MSS. 12282/1-6) and include Wilfred’s original manuscripts (digital versions of which are available on the Word War I Poetry Digital Archive), allowing the reader to see the maturation of Owen’s poetry from the early ‘To Poesy’ to his masterpieces ‘Dulce et Decorum Est’, ‘Mental Cases’ and ‘Anthem for Dead Youth’. Drafts of poems that Wilfred sent to his cousin, Leslie Gunston, are also found in this part of the collection.

The archive also contains other primary source material relating to Wilfred. At MSS. 12282/34-5 there are original editions of The Hydra, a magazine published by the patients at Craiglockhart Hospital for Neurasthenic Officers where Wilfred was a patient in 1917. He edited several issues of the magazine and some of the copies have annotations by him, such as ‘With the Editor’s Compliments!’ School exercise books and correspondence are similarly preserved, and there is an extensive collection of objects and family possessions relating to Wilfred and his family. Many of the objects are extremely fragile and kept in a Reserved part of the collection, but they provide a tangible closeness to Wilfred. Found here are some of Tom Owen’s souvenirs from India, Susan Owen’s jewellery box, with locks of Wilfred’s baby hair, an old family clock, a boat handmade by Tom for Wilfred, and some binoculars belonging to Wilfred himself.

The photographs in the archive span from the late 19th century to the late 20th century, and include many generations of Wilfred’s mother’s family. The photos are arranged by size and subject and include photographs of Wilfred.

The remainder of the archive mostly consists of Harold Owen’s correspondence, press cuttings and working papers. These offer a fascinating insight into the life of Wilfred’s brother, Harold and highlight the way in which he controlled Wilfred’s reputation and that of the Owen family. His correspondence with admirers, scholars, publishers, libraries and museums uncovers the human face of archival acquisitions and posthumous literary fame. Harold’s biography, Journey from Obscurity, is found in this part of the collection, with a first draft of almost 1000 pages written by hand in Harold’s characteristic small capitals.

There are three later additions to the archive. The 1978 Gunston donation includes manuscripts dating back to the 19th century, letters, photographs and cartoons. Particularly charming are Leslie’s letters to his wife Norah, and the sketches contained in them.

The Owen scholar Dominic Hibberd gave his working files, which contain correspondence, press cuttings, photocopies and photographs, generated in the course of his research. Some of these items are dated as recently as 2002, and include new resources, such as photocopies of the birth, death and marriage certificates of Wilfred’s extended family.

Also present are Jon Stallworthy’s working files, which are comprised mostly of photocopies of the Owen manuscripts which he used to create his Complete Poems and Fragments.

Several items in particular caught my attention throughout the archiving process:

Items 83 and 102 in MS. 12282/7, folder 2 are two letters from Annie G Phillips to Harold Owen, dated November 1969. Annie is studying for her A levels, and writes to Harold of her admiration for Journey from Obscurity, his memoirs. She says that learning about the family life of the Owens has helped her understand Wilfred’s poetry on a deeper level, but she also makes some very personal connections. Like Wilfred, she cannot afford to go to university. Harold’s reply must have been kind because her follow-up letter is even more brimming with excitement. These exchanges really posit Harold as a living connection to Wilfred, a way for readers to access the poet, a way of keeping Wilfred alive. But this is of course exactly what Harold’s archival work did and does. His own papers are testimony to that process of preservation, and exist as items worthy of study in their own right. But these letters also left me wondering what happened to Annie Phillips, who must now be nearing 80. Did she ever go to university? Is she still reading Wilfred Owen?

Item 151 in MS. 12282 photogr. 3 is a postcard of Scarborough during the war, collected as part of a group of postcards of places connected to Wilfred Owen. It follows postcards of Bordeaux, Ripon, Ors, and many other places. The photographed place is the focus of these postcards, and very few have any writing on them. But item 151 dates from the First World War and has a message written to a ‘Miss Lucy Sunderland’ from ‘Daddy’. Archival work is never neutral, and the decision made to use this postcard in the collection represents a value judgement: the photographic record of a place is of greater importance than the message contained on the verso of the card. In the catalogue, I decided to include the information about the scribbled message in an attempt to balance out the conflicting demands placed upon this item. We’ll never know if Lucy’s Daddy made it back home again.

Item 16 in MS. 12282 objects 2 is a tiny cardboard box inside Susan Owen’s jewellery box. This tiny box contains two envelopes with the hair of Wilfred Owen inside. One of the locks of hair even had the shedded skin of a carpet beetle lodged within it! The hair itself was one of the most moving discoveries within the collection, with a tangibility that is both enticing and repulsive. But the manner of preservation was fascinating, too. The hair had originally been labelled in the envelopes and box by someone with a cursive hand, most likely Susan Owen herself, who would have been the one to cut Wilfred’s hair. The pencil marks had somewhat faded away, but one of the envelopes read ‘The hair of Sir Wilfred Edward Salter-Owen at the age of 11 ½ months in the year 1894’ For Susan, then, this was the act of a proud mother, keeping a memory of her son’s early years, to look back upon when he was older. But the cursive pencil writing is overshadowed by the characteristic small capitals in ink of Harold Owen. Harold labels the box as ‘The poet Wilfred Owen’s hair’. He displays an entirely different motive – to preserve the remains of a well-known literary figure. The object’s purpose and identity has been altered by the motives of its various owners. How the Bodleian labels this item will necessarily be another act of alteration. A strand of hair is never just a strand of hair!

Laura Hackett

New Catalogue: Papers of Louis MacNeice

The catalogue of the papers of the Northern Irish poet and playwright Louis MacNeice (1907-1963) is now available online.

MacNeice studied Classics at Oxford from 1926, and together with Stephen Spender and Cecil Day-Lewis, he became part of the circle of poets and writer that had formed around W.H. Auden. His professional life began in 1930 as a lecturer in Classics, but in 1941 he joined the BBC and for the next twenty years produced radio plays and other programmes for the Features Department.

Whilst he also wrote articles and reviews, theatre plays, a novel and even a children’s book, MacNeice is best known for his poetry. Between 1929 and 1963, he published more than a dozen poetry volumes, such as Autumn Journal (1939) – regarded by many as his masterpiece, Springboard (1944), Holes in the Sky (1948), Ten Burnt Offerings (1952), and Visitations (1957). His last poetry volume, The Burning Perch came out just a few days after MacNeice’s untimely death in autumn 1963.

Amongst other works published posthumously were a book entitled Astrology (1964), Selected Poems (1964) edited by W.H. Auden, the autobiography The Strings are False (1965) edited by E.R. Dodds, and Varieties of Parable (1965), as well as the radio/ theatre plays The Mad Islands and The Administrator (1964), One for the Grave (1968) and Persons from Porlock (1969), and the song cycle The Revenant (1975).

(Frederick) Louis MacNeice by Howard Coster,
nitrate negative, 1942. NPG x1624.
© National Portrait Gallery, London.
(CC BY-NC-ND 3.0)

The archive at the Bodleian Libraries comprises more than 70 boxes of literary papers and other material relating to Louis MacNeice’s career as a writer, as well as extensive personal and professional correspondence, and some personal papers. Continue reading

New Conservative Party Archive releases for 2019

Speaking notes prepared for Margaret Thatcher, annotated drafts of William Hague’s election leaflets, and briefing papers written by David Cameron as a young researcher are all among files newly-released by the Conservative Party Archive for 2019. This year, our releases are drawn primarily from the records of the Conservative Research Department (CRD): these comprise the department’s subject files and working papers, its briefings prepared for Members of Parliament, and the papers and correspondence of CRD desk officers. In addition to our regular scheduled de-restrictions, the Conservative Party Archive is pleased to announce that the papers of Robin Harris, the Director of the Conservative Research Department from 1985-1989, will also be made available for consultation for the first time. This blog will briefly look at some of the items to be found in each of these main series, demonstrating the value of these collections to researchers of the Conservative Party and historians of modern British history.

Conservative Research Department Files, 1988

Among the newly-released records are a number of files on the ever-thorny question of Europe, including the minutes and papers of the European Steering Committee, the Party’s coordinating group for the 1989 elections to the European Parliament. These files provide a fascinating insight into the challenges the Party faced in trying to balance the record of its MEPs with the increasing Euroscepticism of British Conservatism: a September 1988 report on the Party’s private polling on Europe, for instance, warned that nearly a third of Conservative general election voters were opposed to EEC membership and would not turn out to support the Party in the European Elections [CPA CRD 4/30/3/1]. The Conservative Party Archive has, separately, also recently acquired the records of the Conservative delegation to the European Parliament in this period, and will be seeking to make these available for consultation later in 2019.

Minutes and papers of the European Steering Committee – CPA CRD 4/30/3/1.

Conservative Research Department Briefings, 1988

This year’s releases under the thirty-year rule include a wide range of policy briefings prepared by the Research Department. These briefings, typically prepared for Conservative MPs and Peers ahead of parliamentary debates, provide an excellent snapshot of the Party’s thinking, tactics, and rhetorical strategy on the key issues of the day. Subjects covered by the briefings include some of the most prominent policies of the Thatcher government, including the introduction of the Community Charge (Poll Tax) and the privatisation of state-owned utilities.

A selection of CRD briefings from the Environment and Local Government file, covering the Community Charge, Section 28, and Acid Rain – CPA CRD/B/11/7.

This series notably includes briefing papers prepared by David Cameron during his time in CRD, covering topics on environmental, energy and industrial policy. In 1989 Cameron became the Head of the Political Section, a post he held in the department until 1992, and we expect to be able to de-restrict more of his papers from this period in the years ahead.

Two CRD briefings on Energy Privatisation written by David Cameron – CPA CRD/B/10/8.

Conservative Research Department Letter Books, 1988

The papers and letter books of the Research Department desk officers are a unique resource for those studying the history of Conservatism. Among those files newly de-restricted for 2019 are the letter books of CRD Desk Officer Richard Marsh. Specialising in environmental policy and local government, Marsh’s papers include extensive material on the Poll Tax, and are likely to be of high value to researchers of the subject. Marsh’s papers also include a draft copy of William Hague’s election leaflet from the 1989 by-election, complete with revealing annotations – a pledge to bring in harsher sentences for criminals, for instance, is struck out and replaced with a vaguer commitment to take ‘vigorous action in the fight against crime’ [CPA CRD/L/4/40/2].

Annotated drafts of an election leaflet for William Hague, the Party’s candidate in the 1989 Richmond By-election – CPA CRD/L/4/40/2.

Papers of Robin Harris, Research Department Director, 1985-1988

Finally, the records of CRD Director Robin Harris provide a rich insight into the Conservative Party during the 1980s. For instance, Harris’ letter book for August and September 1987 shows how the Research Department went about preparing material for Thatcher’s speech to the Conservative Party Conference, with draft sections of the speech and working memoranda included in the file [CRD/D/10/2/25].

Robin Harris file on Margaret Thatcher’s 1987 Party Conference speech, including draft speech sections – CPA CRD/D/10/2/25.

Harris’ papers also show how the Party responded at times of political crisis. During the Westland Affair, when Thatcher’s premiership was briefly seen to be threatened, the Party received numerous letters from the public calling on the Prime Minister to resign. Harris’ memo books from the time show how Conservative Central Office managed the situation, drafting template responses defending the government’s conduct [CRD/D/10/1/11]. The papers should prove to be a valuable resource for historians of the period, and we expect to be able to make further de-restrictions in this series under the thirty-year rule in January 2020.

Robin Harris memoranda on the Party’s response to the Westland Affair – CPA CRD/D/10/1/11.

All the material featured in this blog post will be made available from 1 Jan 2019. The full list of de-restricted items will be published shortly on the CPA website, where de-restriction lists from previous years are also available.

New catalogue: Shrimpton’s Oxford Caricatures

The online catalogue of Shrimpton’s Oxford Caricatures is now available.

Thomas Shrimpton & Son published and sold photographic reproductions of commissioned or submitted original caricatures from their premises at 23-4 Broad St., Oxford, from 1868-1901, their shop window display seemingly their only advertising strategy, there being no evidence of them ever having produced a catalogue or list.

Image of Shrimpton & Sons shop window

Shrimpton & Sons shop window, with Benjamin Jowett, Vice-Chancellor and Master of Balliol College and three beadles as sandwich men advertising publications for sale, 1884. 8 recognisable caricatures are on display and are held within collection. G. A. Oxon. 4º 417, fol. 1050.

The caricatures were primarily intended for undergraduates and drawn by undergraduates, portraying the trials and tribulations of undergraduate life, as well as the delights, as seen from their perspective. Images are immediate and inventive, and often quite irreverent. Certain individuals received special and frequent attention, their identification, despite (thinly) disguised attempts to conceal their names through clever or simplistic wordplay, were only too obvious to University members. Many caricatures lack a proper caption or title, relying solely upon a pithy phrase, quotation or misquotation to assist the viewer. Some allusions are obscure or meaningless at first sight, but with thought and research their message or humorous allusion has been revealed.

The subject matter includes many aspects of University life, notably University and religious personalities. Other subjects frequently covered are ritualism, politics, aestheticism , ‘town and gown’ confrontations and women, especially allusions to their becoming full members of the University. The imagery is invariably humorous, witty and inventive, covering local (University), as well as, national events; many display learned quotations from classical authors and contemporary poets. Throughout the publishing history distinct series were produced, notably ‘Great Guns of Oxford’ (Nos. 1 – [70]) and’ Our Public Schools’ (Nos.1-27), generally representing an individual in their familiar setting, though always done humorously.  In all there are 1214 images. The 7 albums which comprise the collection would appear to represent the complete set of caricatures published. This set, together with the one in the John Johnson Collection, are the only known ‘complete sets’. I have made every attempt to identify individuals (500+), including caricaturists, locations and events in order to produce a fully comprehensive catalogue. Where appropriate, contextual notes have been added and quotations cited. The locations of the (few known) surviving, original caricatures are provided within the catalogue description.

The heyday of the publishing history of the ‘Caricatures’ in terms of output and inventiveness was 1868-84, after which new publications became increasingly erratic. There was probably a combination of reasons for this, but its long demise may well have started in earnest when Thomas Shrimpton died in 1885 aged 79. Perhaps its commercial potential was already waning. Even so they had become an Oxford institution, known by all at the University at the time and remembered fondly by many for years to come. The importance of these caricatures is not only the number of individuals represented (some of whom may have no existing likeness elsewhere), but also the context in which they appear, alluding to events which would, perhaps, be otherwise completely forgotten.

Until now their full extent could not be fully appreciated. Now, for the first time, this wonderful, visual resource for the study of various aspects of Oxford University life in the second half of the nineteenth century, has been fully catalogued.

Colin Harris

An archive in exile: Arturo & Ilsa Barea

By Eva Nieto McAvoy

Arturo and Ilsa Barea’s archive and library have been kept in a terrace house near Finsbury Park for the past 40 years. Their niece Uli Rushby-Smith inherited this large collection in the 1970s and has taken upon herself the daunting task of looking after the estate and ensuring that the Bareas’ legacies are kept alive by promoting several new editions of their work. It was through Arturo Barea’s biographer Michael Eaude that I came into contact with Uli, the terrace house, the papers and the books in 2011. I was interested in writing a PhD thesis on Arturo Barea and having access to the archive was a wonderful oportunity. Aside from researching for my thesis ‘A Spaniard in Hertfordshire: The Intellectual Exile of Arturo Barea’, I catalogued the papers and, in the process, became personally involved in this wonderful story. When I first arrived, about twenty boxes of articles, letters, drafts, newspaper cuttings and scrapbooks belonging to Arturo and Ilsa, and several walls covered with the books of five generations (from Ilsa’s parents to her great nieces) were awaiting me. The results of the organizing and cataloguing can now be enjoyed by users for the Weston Library, the new home of Arturo and Ilsa Barea’s papers.

Photographs in the archive, photo by Sonia Boué

Photographs in the archive, photo by Sonia Boué

The Bareas started their exile homeless, but also paperless and bookless. They managed to bring over a case with personal and family documents and some photographs from their previous life in Spain. But that’s about it. For the most part, this archive is an exile’s archive: written in exile, built in exile, read in exile and kept in exile until today.

I have to confess that my weekly visits to the archive, working in the nostalgic living room furnished with Biedermeier cabinets, with walls full of books and magazines, blue china and netsuke that belonged to Ilsa, overlooked by the solemn presence of Barea’s grandfather clock, are still my favourite part of the research. Each letter or photograph has a story behind it and more often than not, Uli has filled in the blanks with her memories of Arturo and Ilsa.

Arturo Barea (Badajoz 1897 – Faringdon, Oxfordshire 1957) was a Spanish writer, literary critic and broadcaster. A socialist and active member of the UGT (the Socialist trade union) during the Spanish Civil War, Barea was the head of the Press Department of the Republican Foreign Office in Madrid, dealing with foreign press correspondents such as Ernest Hemingway or John Dos Passos. During this time, he met and married his second wife, the Austrian socialist Ilsa Barea (née Ilse Pollak), his life-long companion, collaborator and translator.

Ilsa & Arturo in their garden

Ilsa & Arturo in their garden

In 1938 Barea and Ilsa left Spain for France and then England, where they arrived in March 1939. It was during his early years in exile that Barea became a well-known contributor of articles and short stories to Horizon, Time and Tide, the New Statesman, the Times Literary Supplement and Tribune, aside from contributing the essay ‘Struggle for the Spanish Soul’ to Orwell’s wartime series Searchlight Books. He was also a regular broadcaster for the BBC Latin American Service under the penname ‘Juan de Castilla’. Barea is the author of the autobiographical trilogy The Forging of a Rebel, which was first published in English by Faber&Faber (1941-1946) and edited by T.S Eliot. The trilogy was an immediate international success and was translated into nine languages during the forties. The Spanish edition came out in Argentina in 1951 and it was only published in Spain in 1977 after Francisco Franco’s death. Barea never returned to Spain and became a British national in 1948.

Ilsa Barea (1902-1973), née Pollak, was a socialist political activist, journalist and translator. Born in Vienna into a liberal family, Ilsa was politically active early on, particularly in the areas of propaganda and education. She was a member of the Austrian Communist Party initially then later the Austrian Social Democratic Party. In 1936, she was employed by the Press Department of the Republican Foreign office in Madrid. During this period of the Spanish Civil War, she met Arturo Barea. They were both working as censors at their headquarters in the Telefonica (the title of her serialised novel published in the Austrian Arbeiter-Zeitung in 1949). After the death of her first husband, Leopold Kulcsar,  in January 1938, Ilsa married Arturo and together they fled Spain.

While in exile, Ilsa continued supporting the Spanish Republican struggle by publishing articles in Time and Tide, New Statesman, Times Literary Supplement, and Tribune. In August 1939 she joined the BBC Monitoring Service in Evesham, translating broadcasts from German and Spanish alongside Ernest Gombrich, George Weidenfeld, Martin Esslin and Anatol Goldberg. She was an exceptionally gifted linguist. Later her work focused on evaluating foreign writers, translating many of them for English and American publishing houses. She also broadcast for the BBC on a number of subjects.

Vienna. Legend and Reality (Secker and Warburg, 1966)

Vienna. Legend and Reality (Secker and Warburg, 1966)

Ilsa was a close collaborator of Arturo’s, influencing his work in many ways. Her most important contribution was the translation of his trilogy The Forging of a Rebel into English, praised for its quality in many reviews. The legacy of her father, Valentin Pollak, a well-known Viennese teacher and educationalist, was carried on in Ilsa’s work as a teacher herself and interpreter for Labour Parties and Unions across Europe. She became a British national in 1948, but after Arturo’s death in 1957, she returned to Vienna regularly, spending the last years of her life there. She is the author of Vienna: Legend and Reality (1966), a social and cultural history of the city.

Arturo and Ilsa shared a life of letters until his death in 1957; he wrote; she wrote and translated what he had written in Spanish into English. Snooping around the couple’s papers I can imagine them in their cottage in Eaton Hastings, working at their shared desk piled with papers threatening to tip over while listening to the radio in the background and having endless discussions about politics in several languages as they shared the house with a mixture of family members and friends from different places. It is precisely this mixture of languages and intellectual traditions which has a very strong presence in the archive and the library.

It is overall surprising to find a comparatively small proportion of material in Spanish – letters and documents in English, German, French, Danish and even Swedish open a window onto an important period of European history. The archive is an important repository of Spanish culture in exile, but also of Austrian culture and, even more importantly, of the internationalism that permeated the anti-fascist struggle of the Second World War and the anti-communist struggle during the Cold War.

The Forge, The Track and The Clash (Faber & Faber, 1941, 1943, 1946)

The Forge, The Track and The Clash (Faber & Faber, 1941, 1943, 1946)

Some of the most important holdings in the archive are the original and annotated typescripts of Arturo and Ilsa’s work like Arturo’s La Raiz Rota, Ilsa’s Vienna, as well as their many short stories, articles and even unpublished poetry by Ilsa. Sadly there is no typescript of La forja de un rebelde, but only a few chapters in French and the first two pages of La forja in Spanish, probably from 1938.

Arturo and Ilsa’s papers are hard to separate. Aside from their close intellectual collaboration, she often wrote letters on his behalf, particularly when they first arrived – many of them explaining Arturo’s limitations with English. But Arturo could read in English, and the number of British classics in their library gives credence to a biographical note of 1941 which explained “that his spoken English is still atrocious, but he is beginning to appreciate Jane Austen”. There is an incredible articulation of Spain and Britain in Barea’s work and in the archive and library. On the shelves we can find Don Quijote de la Mancha sitting quite comfortably next to Tristram Shandy. Letters to Cyril Connolly and John dos Passos are written in Spanish and are mixed with those of Arturo to his family back in Madrid. As expressed in one of Barea’s obituaries, he served as an “interpreter between two different civilizations and ways of life”.

Uli tells us that the Bareas spent most of their time writing letters and reading newspapers and magazines, ranging from the Manchester Guardian to Picture Post. All of these activities have left traces in the archive as well. Apparently, one of Uli’s jobs was to help them read through the morning papers, to cut out all the news relating to whatever topic they were writing about at the moment and to paste the clippings in scrapbooks – all of which are also in the archive.

Throughout their careers, Arturo and Ilsa wrote book reviews and articles about the literature and authors of their homelands. They also had an important role in promoting, and often translating into English, Spanish authors such as Camilo J. Cela and other writers in exile like Guillermo de Torre, Ramón J. Sender, Esteban Salazar Chapela, Francisco Ayala or Max Aub. After Arturo’s death, Ilsa continued this work as a translator from Spanish and German, but also as a reader for British publishing houses, as an editor, and as an interpreter, particularly for trade unions. We can find most of this paperwork in the archive, aside from around 12 boxes of correspondence that traces Arturo and Ilsa’s work and life in exile.

Arturo Barea broadcasting for the BBC Latin American Service

Arturo Barea broadcasting for the BBC Latin American Service

The archive also illustrates Barea’s relationship with Latin America. Articles for the Argentinian newspaper La Nación, around 650 of the 850 broadcasts he wrote for the BBC Latin American Service, fan-mail to “Juan de Castilla” and details of his 1956 trip to Argentina, Chile and Uruguay – including airplane tickets and a record of all the vaccines he needed.

Arturo’s past as a non-intellectual also sneaks into the archive in rather unexpected ways. One of his major projects was to design a bookshelf system that could be assembled and dismantled by anyone in order to adapt to different spaces and uses, decades before IKEA had the same idea. Drawing on his previous experience in a patent agency in Spain, Arturo tried to patent his design. The shelves still stand in Uli’s living room, more than 60 years after Arturo first built them.

Today, the Bareas’ archive is arguably still in exile. The donation to the Bodleian is an important step in assuring access to its holdings for future generations of scholars – although researchers will now miss Uli and her partner Eugene’s wonderful meals and conversations. One question that comes to mind is why not send the holdings back to Spain, as has happened with other Spanish Republican exiles’ libraries? The return to Spain is often seen as a reconciliation following the injustice of the years of expulsion.

Several reasons are behind the decision to donate the archive to the Bodleain. The cosmopolitanism of the holdings; the fact that Arturo’s work is difficult to separate from that of his wife, which represents a whole chapter of Austrian culture in exile; and the fact that the transnational character of their work might be best represented in Britain, as an example of the internationalism of the war and post-war periods. It is also a much needed reminder of how Britain’s (often reluctant) hosting of European exiles resulted in the political, cultural and social contributions of Europeans to British culture and politics.

Most importantly, it is undeniable that Ilsa and Arturo started their exile struggling to overcome the violent loss of the life they were forced to leave behind. In 1956 Arturo still felt that ‘la patria se siente como un dolor agudo’ – the homeland feels like an acute pain. But Ilsa and Arturo were also able to embrace exile as a new beginning, a new life together in a foreign land that soon became home.

Archives, libraries, books and scrapbooks can help exiles keep links with their homeland, but can also ground them to their new homes. Arturo and Ilsa’s archive is testimony to this. If, in Adorno’s words, “To those who no longer have a homeland, writing becomes home”, the archive is already home and it belongs here, in Britain more than there, in Spain.

New catalogue: Archive of Dame Louise Johnson

The online catalogue of the Archive of Dame Louise Johnson is now available.

‘[T]he moment comes when you actually solve a problem—it may be quite a small problem—but for a few moments you stand there and think “Nobody else knows this but me”.’ – Dame Louise Johnson

RESEARCH

Never one to shy away from a challenge Dame Louise Napier Johnson (1940–2012), biophysicist and structural biologist, spent her long career solving many problems; mostly in the field of structural enzymology that she helped create.

One of the first she solved was when she, David Phillips, and Charles Vernon described the enzyme lysozyme and how it bound its substrates at a special meeting of the Royal Institution in 1965. This was at a time when structural biology was in its infancy and lysozyme was the second protein and first enzyme to have its structure elucidated. It was also the first time that the mechanism through which enzymes worked on a structural level was described.

Notes on the structure of lysozyme.

Notes on the structure of lysozyme.

This was more than just an interesting theoretical exercise; it had far reaching implications and showed that understanding structure could help in understanding biological processes. Its practical application to drug discovery changed the face of pharmaceutical research. By the 1970s pharmacological researchers were using rational drug design and looking at protein receptors and their properties and binding potential. Knowing the structure of molecules, they could look for potential binding sites and postulate possible interactions. They could then look for analogues or ‘build’ new molecules specific to targeted binding sites.

She went on to tackle larger and more complex proteins like ribonuclease S and glycogen phosphorylase, but the tools of the time meant that it was a long hard slog. In order to examine these proteins they had to be crystallised to achieve high resolution images. These crystals did not last long and in the early days of structural biology protein structures were studied using diffractometers that took days to record data sets, often going through several crystals at a time.

DIAMOND LIGHT SOURCE

Needing faster and higher resolution data acquisition she turned to synchrotron radiation, which at the time was used primarily for studying purely physical phenomena. She championed the use of synchrotron radiation in the life sciences and was heavily involved in plans for the construction of a third generation synchrotron, Diamond Light Source, in the UK.

Breaking ground for the 250m long x-ray imaging and coherence beamline.

Breaking ground for the 250m long x-ray imaging and coherence beamline.

She came on board Diamond as the Director of Life Sciences because she believed that good research needed good infrastructure and support. She was heavily involved in planning and testing the beamlines, spearheaded a collaboration with Imperial College London to build the Membrane Protein Laboratory and secured funding for the Harwell Campus for visiting researchers.

Robotic sample changers on the MX beamlines.

Robotic sample changers on the MX beamlines.

Her tireless work saw the number of researchers working in structural biology at Diamond rise to its current 40%.

But she didn’t just support researchers with funding and facilities. While Director she continued as head of the Laboratory of Molecular Biophysics where her sympathetic management and light hand brought the best out of her research group.

LABORATORY OF MOLECULAR BIOPHYSICS

In 1967 Johnson joined David Phillips at the newly founded Laboratory of Molecular Biophysics at Oxford University; succeeding him as department head in 1990. Johnson was a constant in a department which endured considerable turnover of staff. The nature of Johnson’s field was very dynamic and it was common for researchers to move to and from other institutions regularly throughout their careers. One of twenty senior staff in 1975; by 2000 she was the only one remaining.

As head, she supervised around 80 people with an outside grant income in 2000 of almost £7 Million; overseeing a successful graduate programme while maintaining a nurturing environment for students and staff alike.

She routinely organised over 50 in-house and general research seminars annually. Many of them focused on the laboratory’s very productive output. Between 1995-6 alone, more than 30 protein and virus structures were solved. She trained a generation of Oxford crystallographers; as evidenced by the plethora of Protein Data Bank entries (including many forms of glycogen phosphorylase and cell cycle CDK/cyclin complexes) deposited by her lab; and kept the department running smoothly when they inevitably departed.

Johnson endeavoured to be a role model for other women. It was source of pride for Louise Johnson that of the six senior faculty members in her laboratory, three were women. She was also a trustee of the Daphne Jackson fund for scientists returning to research after career breaks. In September 2007 a symposium was held in her honour to recognise her continuing achievements and contribution the University.

– Emily Chen and Sean Macmillan

CREDITS

The archive of Louise Johnson came to us through the Saving Oxford Medicine project which sought to discover and catalogue collections relating to Oxford that have had an impact on the medical sciences. These papers were kindly donated by Professor Elspeth Garman and Johnson’s son Umar Salam.