Category Archives: Photography

Preserved in Time: A Snapshot of Moss Side in the Archive of Daniel Meadows

20th century, Archives and Modern Manuscripts, Black History Month, Event, Humanities, Modern, Photography, Spotlight

Moss Side, Manchester, spring of 1972. On a sunny day, a group of children gather round an old barber’s shop, set into a row of single-storey Victorian buildings. They jostle for space as they peer at photographs on display in the window. The eldest among them holds up a toddler on their hip—perhaps a sibling, relation, or friend—to better see the photographs. To their left, outside the shop next door, stands a rack of second-hand clothes for sale. To the right is Jimmy Thomson’s Tattoo Parlour. Three teenage girls stand outside the tattoo shop, watching the flurry of activity. [1]

Moss Side covers just 1.84 square kilometres of Manchester, pushing up against Hulme to the north and Whalley Range to the south. [2]. In the 1950s, this neighbourhood became home to a small but growing Caribbean population, early arrivals of what is now known as the Windrush Generation. In the 1950s and 60s, many Caribbean people chose to move to Manchester where they knew others, family or friends, or if they had been stationed in nearby Lancashire during the war. Settling in and around Moss Side, a Caribbean community soon laid down roots in the neighbourhood. [3]. In the 1950s, Caribbean people made up the second-largest ethnic group in Manchester after white British people and by 1981 there were over 6,000 people from the Caribbean living in the city. These people came predominantly from Jamaica, but there were other from countries such as Barbados, Trinidad and Tobago, and what was then known as the West Indies Associated States. [4].

Moss Side has long been stigmatised as an ‘inner-city problem area.’ [5]. In 1981, protests against racist and aggressive policing tactics in Moss Side turned into violent clashes lasting two nights, further consolidating the view of the neighbourhood as a site of violence and crime. This followed similar events in Brixton, Toxteth and Handsworth, caused by high unemployment, poor housing provision, a lack of investment, and racial tensions. [6]. However, photographs of Moss Side held in the Bodleian Libraries Special Collections show a very different story. Taken almost a decade before the disturbances of 1981, but twenty years after the first arrivals from the Caribbean, they are a window into the daily life of this deprived, but neighbourly area.

The shop described above, around which the children gathered to peek at photographs in the window, was the Free Photographic Shop, which had been set up by a photography student at Manchester Polytechnic called Daniel Meadows. Hailing from rural Gloucestershire, Meadows came to Manchester in 1970 and lived in Moss Side. In January 1972 he rented a barbershop at 79b Greame Street, converting it into a photographic studio in which local people could have their picture taken free of charge. Once developed, Meadows’ subjects received a copy of their photograph to keep. [7]. The studio was open for two months during which time Meadows photographed over 200 people, despite the shop being open only one day per week. [8].

The Free Photographic Shop at 79b Greame Street, MS. Meadows 46

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Oxford University and Photography

19th century, 20th century, Archives and Modern Manuscripts, Modern, Oxford University Archives, Photography, Spotlight, Uncategorized,

In honour of World Photography Day, on 19 August, the University Archives blog looks at some of the photographs that we hold here and how the University used photography to record its people and its activities, and to present itself to the outside world.

Photographs are so commonplace today that it’s easy to forget that for many decades the taking of photographs was a much less frequent event. It often surprises users of the University Archives how few photographs we hold. But for many years, the University did not have its own photographic studio or photographers and so any photographs that were taken were done by outside firms at considerable expense. Photography was, as a result, used sparingly by the University, reserved for special occasions only, and did not form part of its day to day activities until the late 20th century.

The University took very few photographs of its students, for example. Where these were taken and where they have survived, they tend to be found in college archives rather than in the central University’s records. Colleges had a different, much closer, relationship with their students than the University, and their photographs span both formal teaching and informal social activities.

But despite the paucity of photographic material in the Archives, it is possible to identify trends and themes in the University’s relationship with photography. The examples below highlight just a few of these.

Photographs as gifts

Something of which we have a few examples of here is the commemorative album of photographs. From the late 1800s to the mid 20th century, there appears to have been a custom of presenting a very senior or long-standing member of staff on their retirement with an album of portrait photographs of their colleagues. It shows the precious and special nature of photographs in more distant decades.

One such case from a relatively early date is the gift given to Henry Stephens, University Marshal and Bellman, who retired in 1913, having been in post since 1888. In 1914, his colleagues (former and past) put together a beautifully-inscribed album comprising portrait photographs of every single one of the many University Proctors with whom he had worked over that period.

Title page from Henry Stephens' photo album

Title page of the commemorative album of photographs presented to Henry Stephens, Marshal and Bellman in 1914 (OUA/PR/1/25/1)

Stephens worked with fifty Proctors during his 25-year career. Each academic year saw the admission of two new Proctors (Senior and Junior) and each page of the album contains, in a variety of styles, their photographic portraits.

Page showing proctors for 1888-9

Photographs of the Proctors of 1888-89 from the album presented to Henry Stephens in 1914 (OUA/PR/1/25/1)

It must have been an expensive and time-consuming gift to create. At what point it was returned to the University by Henry Stephens or his family, we don’t know, but it made its way back to the Proctors’ Office and was transferred to the Archives along with their records over 50 years later.

Departmental posterity

Another developing use of photography, from the late nineteenth century onwards, was the custom adopted by certain University departments of taking photographs of their students: each year’s intake for example, or those attending summer schools or conferences.

One department which was very careful to record its activities in this way was the Department of Continuing Education, the adult education arm of the University. Its predecessor, the Delegacy for the Extension of Teaching beyond the limits of the University (or Extension Delegacy for short), was a pioneer in the field of adult education from its origins in 1878 and it appears there was already an awareness, in its early days, of how ground-breaking its work was. It wasn’t long before it was photographing its activities for posterity, one very early example of which was the biennial Summer Meeting.

The Summer Meeting first took place at Balliol College, Oxford, in August 1888. It was a summer school open to all extension students of Oxford, Cambridge and London Universities. Students stayed in lodgings in Oxford and attended a full programme of lectures and classes. A significant development in the availability of university-level education to adults, the Summer Meetings attracted students from all around the UK.

An album of photographs of the early Summer Meetings survives in the University Archives, including its earliest photograph which is identified as the very first Summer Meeting of 1888.

Photo of First Summer Meeting

The first Summer Meeting at Oxford, 1888 (from OUA/CE/5/1)

As the photograph shows, the majority of the students were women. The Extension Delegacy was one of the first University departments to offer a university-level education to women, long before they were allowed to matriculate as full students. The Summer Meeting was only one of a number of pioneering activities which the Delegacy undertook and it led to the formation of other important adult education movements such as the Workers Educational Association (WEA), launched at the Summer Meeting of 1903.

Letting the outside in

A key way in which the University began to use photography in the twentieth century was to present itself to the world outside Oxford. Most of the photographic prints which we have in the University Archives here were not taken by the University itself, but by the press. It appears that from the early 1950s onwards the University began to be asked more and more by the national and local press for its permission to photograph its activities and events.

Generally-speaking at this time, the University was reluctant to let the press in and many of the requests it received from photographers were refused. Although aware that the outside world was interested in what went on at Oxford, the University resisted the intrusion; self-promotion, in particular, was seen as anathema to many within it. On the rare occasions when it did agree to filming or photography by outside agencies, the University demanded a high level of editorial control over the images produced.

One significant example of this was a visit in the early 1950s from the Central Office of Information (COI). The COI was, from 1946 to 2011, the UK government’s marketing and communications agency. It produced public information materials (such as leaflets, posters and short films) on a range of public issues such as life in Britain, health and education, often for the promotion of Britain overseas. In April 1952, the COI’s Photographs Division wrote to the University asking to create a ‘picture set’ illustrating life at Oxford University intended for overseas distribution. The University agreed and the COI’s photographers visited in May that year.

The Archives contains a set of about 25 photographs taken by the COI with the working title ‘The University of Oxford – Life in Britain’s Oldest Seat of Learning’. They show a carefully-curated view of student life in Oxford including shots of the city, undergraduates in colleges, libraries and tutorials; a degree ceremony; the Proctors; punting and other sports; and a debate in the Union. These were sent to the University for its approval and each bears a descriptive text on the back written by the COI. Some of these have been heavily annotated and corrected by an unnamed University official.

Photo of the High Street by Central Office of Information

View of ‘The High’, taken by the Central Office of Information. Undated (1952) (from OUA/VC/3/5)

It appears that the project then led to an even more ‘intrusive’ request from the COI just four years later. The COI wrote again to the University in 1956 asking, this time, to create a short film about it. The Foreign Office and Commonwealth Relations Office had asked the COI to produce a film for the Overseas Information Services about life in a British university and Oxford was chosen. The University agreed to co-operate officially, despite opposition from some senior. The COI’s appointed production company, Greenpark Productions, visited in 1957 to take more photographs and to film.

From the surviving correspondence about this, it appears that the COI’s request was the only one of several received at the time with which the University was prepared to co-operate. And it continued to demand a high level of control over the finished product. The COI was obliged to send the University a copy of the proposed voiceover script for the film which it edited enormously. The finished film, entitled ‘Oxford’, which ran for 15 minutes, was released in 1958 and shown in a special screening in the city at the Ritz Cinema.

More requests to photograph and film at Oxford followed and the University appears to have been rather less dismissive of these in the years after the COI film. As photographs began to give way to the filming of University events, the University started taking over from ad hoc visits from the outside press, recording its own events and managing its public face itself. The University not only became more aware of the financial advantages of doing this, it was also part of a realisation in the late 1960s that it needed to exercise more control over its brand and manage its relations with the outside world on its own terms, rather than through the lens of the external press.

Photography and filming of University activities and events is now run by the University’s Educational Media team (formerly the Media Production Unit). Not only do they produce content but they also provide advice and expertise to others creating their own University-related content.

The print archive of the Central Office of Information is held by the British Library at Central Office of Information Archive – The British Library (bl.uk)

Its business records are held by the UK National Archives and the films they produced are preserved and made available by the British Film Institute at BFI National Archive | BFI

Further information about the history of the Department for Continuing Education and its predecessors, including the Summer Meetings, can be found at The history of continuing education at Oxford | Oxford University Department for Continuing Education

 

Photographer Helen Muspratt’s archive is now available

20th century, Archives and Modern Manuscripts, Humanities, Modern, Newly available (2023), Photography, Women, , , , ,
A bride in a flower-decorated Oxford punt, being steered by the groom or a groomsman, c. 1960s

The punting bride, a wedding photograph by Helen Muspratt, Ramsey & Muspratt, c. 1960s, ©Bodleian Libraries

The archive of the portrait and documentary photographer Helen Muspratt is now catalogued and available in the Weston Library.

Helen Muspratt (1907-2001) first made her name as a skilled, experimental portrait and documentary photographer in the 1930s.

Muspratt was introduced to Lettice Ramsey (1898-1985) by their mutual friend Fra Newbery, the retired head of the Glasgow School of Art. Lettice Ramsey was a Cambridge graduate and a widowed young mother of two who had excellent contacts in Cambridge and in the winter of 1932, Muspratt joined her in Cambridge to create the studio Ramsey & Muspratt. They soon expanded into Oxford. Some of those Ramsey & Muspratt photographed during this period were the intellectual and left-wing luminaries of the day, including Virginia Woolf, C.P. Snow, Dorothy Hodgkin, Guy Burgess, Donald Maclean and Anthony Blunt, as well as Julian Bell, who was Lettice Ramsey’s lover. Muspratt’s photographs in the 1930s are notable for her experimental approach, including the use of double negatives and solarisation, inspired by the photographer Man Ray.

Muspratt met her husband, Oxford University graduate and Communist Party organiser Jack Dunman (d. 1973) in Cambridge where he was working for the railway. In 1936 Muspratt went on a tour of the Soviet Union with a group organised by the Society for Cultural Relations with the USSR, and her photographs from the trip were used in lecture tours to drum up support for the Soviet Union during World War II. With a commission from the Left Book Club in 1937, Muspratt did her last major documentary series, producing haunting photographs of out-of-work miners and labourers in South Wales and Liverpool, and she also joined the Communist Party. Ramsey and Muspratt’s business partnership was formally dissolved at the end of February 1945, but their respective Cambridge and Oxford studios retained the name Ramsey & Muspratt, and the pair remained friends.

From World War II onwards, while her husband worked as a full-time, rural Communist Party organiser and editor of The Country Standard, Helen Muspratt supported her family as a hardworking studio photographer. From her studio on Cornmarket Street in Oxford she staged lively portraits of everyone from babies to brides to new graduates. Muspratt also loved to photograph architecture, and she photographed Oxford and its environs for John Betjeman. She did a final documentary series when she was commissioned in 1946 by a group of campaigning doctors to photograph elderly patients in the Victorian workhouse-like conditions of the Poor House near Wantage.

Her archive, which mainly comprises prints and negatives, is a wonderful window into Oxford and its environs in the latter half of the twentieth century, as well as pioneering experimental photography of the 1930s. It also includes correspondence with her husband and her parents that are relevant to British Communist Party and left-wing political history. Muspratt’s work, including her 1930s experimental portraiture, is celebrated in the book Face: Shape and Angle by her daughter Jessica Sutcliffe (available from the Bodleian shop).

A web of meaningful links. Archived websites in and as special collections

20th century, 21st century, Archives and Modern Manuscripts, Humanities, Photography, , , ,

As some of you may know, since 2011 the Bodleian has been archiving websites, which are collected in the Bodleian Libraries Web Archive (BLWA) and made publicly accessible through the platform Archive-it. BLWA is thematically organised into seven collections: Arts and Humanities; Social Sciences; Science, Technology and Medicine; International; Oxford University Colleges; Oxford Student Societies and Oxford GLAM. As their names already suggest, much of the online content we collect relates to Oxford University and seeks to provide a snapshot of its intellectual, cultural and academic life as well as to document the University’s main administrative functions.

From the very beginning, the BLWA collection has also been regarded as a complement to and reflection of the Bodleian’s analogue special collections that users can consult in the reading rooms. For example, there are multiple meaningful links between our BLWA Arts & Humanities collection and the Bodleian’s Modern Archives & Manuscripts. By teasing out the connections between them, I hope to offer some concrete examples of how archived websites can be valuable to historical and cultural research and explore some of the reasons why the BLWA can be seen as integral to the Bodleian Special Collections.

Collecting author appreciation society websites…

In BLWA, you can find websites of societies dedicated to the study of famous authors whose papers are kept at the Bodleian (partly or in full), such as T.S. Eliot, J. R.R. Tolkien and Evelyn Waugh. An example from this category is The Philip Larkin Society website, which complements the holdings of correspondence to and from the poet and librarian Philip Larkin (1922-1985) held at the Bodleian.

The website provides helpful information to anyone with a general or academic interest in Larkin, as it lists talks and events about the poet as well as relevant publications and online resources promoted by the Society.

A 2018 capture in BLWA of a webpage from the Larkin Society website, describing a public art project celebrating Larkin’s famous poem ‘Toads’

The value of the archived version of The Philip Larkin Society website may not be immediately apparent now, when the live site is still active. However, in decades from now, this website may well become a primary source that offers a window onto how early 21st century society engaged with English poetry and disseminated research about the topic through media and formats distinctive of our time, such as online reviews, podcasts and blog posts.

…and social media accounts

Alongside websites, BLWA has been actively collecting Twitter accounts pertaining to authors and artists, such as The Barbara Pym Society Twitter presence.

A 2019 capture in BLWA of the Barbara Pym Society Twitter account

The Twitter feed preserves the memory of ephemeral, but meaningful encounters and forms of engagement with the works of English novelist Barbara Pym (1913-1980). The experience of consulting the Archive of English Novelist Barbara Pym in the Weston Reading rooms is enriched by the possibility of reading through the posts on the Pym Twitter account. From talks about Pym’s work to quotes in newspaper articles mentioning the author, the Twitter feed is not only a collection of news and information about Barbara Pym’s work, but also a representation of the lively network of individuals engaging with her writings, both in academic and broader circles.

Online presence of contemporary artists

Building an online presence through social media and a personal website is a promotional strategy that many contemporary artists and authors have adopted. A good example of this is the website of the British photographer and documentarist Daniel Meadows (b. 1952). In 2019, BLWA started taking regular captures of Meadows’ website, Photobus, following the acquisition of Meadows’ Archive a year earlier. This hybrid archive (which includes both analogue and born-digital items) has since been catalogued and its finding aid is available here.

The captures taken of Meadows’ Photobus site provide us with contextual information on the photographic series described in the finding aid of Meadows’ Archive at the Bodleian. Through the website, we get an account of Meadows’ life in his own words, we learn about the exhibitions where Meadows’ photographs were displayed and find out about the books in which his work has been published.

If you were to search for Daniel Meadows’ website on the live web right now, you would find that the website is still active, but looks rather different in content and layout from the captures archived in the BLWA between 2019 and March 2023.

Comparison of the ‘About’ page on Daniel Meadows’ website: the BLWA capture from January 2023 (top), and the capture from May 2023 (bottom)

Furthermore, the URL has changed from Photobus to the name of the photographer himself. Were it not for the version of the website archived in BLWA, the old content and structure of the site would not be as easily accessible. The website has also changed in scope, as it now provides us with a comprehensive digital repository of Meadows’ photographic series.

Comparing Meadows’ website in BLWA with his archive at the Bodleian, we can see an interesting series of correspondences between digital and analogue realm, and between digital and physical archives. For example, the archived version of Meadows’ website Photobus is included as a link in the section of the finding aid for the Meadows archive devoted to ‘related materials’. In turn, the updated, 2023 version of Meadows’ site reflects in some respects the organisation and structure of an archive: his oeuvre is tidily arranged into series, each accompanied by a description and digital images of the photographs to match their arrangement in the physical archive at the Bodleian. Daniel Meadows’ new website exemplifies how, through the combination of metadata and high-resolution images, websites can become a powerful interface through which an archive is discovered and its contents accessed in ways that complement and enhance the experience of working through an archival box in a reading room.

Archived websites as a link to tomorrow’s archives

Web archives are a relatively recent phenomenon, so the uses of a collection of archived websites like the BLWA are only gradually beginning to emerge. The historical, cultural and evidential value of web archives is still overlooked, or perhaps just not yet fully exploited. It is only a matter of time before social media and websites like those kept in BLWA will be seen as an increasingly important resource on the cultural significance of 20th and 21st century authors and artists and the reception of their work. After all, for today’s authors and artists, social media and websites are an important vehicle for the dissemination of news about their work, of their opinions and creativity. As such, their online presence may be different in form, but similar in purpose and significance to the letters, pamphlets, alba amicorum and diaries that one would consult to research the social interactions, ideas, and activities of a humanist scholar.

One of the exciting aspects of working with digital archives is the proactive nature of our collecting practice. Curators of digital collections need to identify, select and collect relevant content before it disappears or decay – threats to which websites and social media are vulnerable. Through the choices we make today of content to archive, we are ultimately shaping the digital archives that will be accessible decades from now.

We are happy to consider suggestions from our users about websites that could be suitable additions to the collection. If you are curious to explore the BLWA collection further, you can find it here.  The online nomination form can be found at this link. So don’t just follow the links – help us save them!

Additional material of Daniel Meadows – focus on photographic prints of Welfare State International

20th century, 21st century, Archives and Modern Manuscripts, Cataloguing, Digital archives, Humanities, Modern, Newly available (2023), Photography, , ,

Welfare State International [WSI] often incorporated lanterns into their projects. Their headquarters, no longer in use, was itself a converted old warehouse called ‘Lantern House’. I think a fundamental reason for the frequency of lantern creation and usage in WSI’s history is, unsurprisingly, the “lighting of dark times and places”. The work of Welfare State helped to regenerate the communities and economic infrastructure of towns across the UK, such as Barrow-in-Furness and Ulverston. They illuminated communities trapped inside industrial shadows. Michael White wrote that these lanterns were “an extraordinary animated artwork that would be impossible to exhibit in a gallery or to ‘price’ as a commodity. They exist only for a few hours through a great deal of collective involvement and imagination”. This amalgam of ephemerality and memory is one that resonates with me at the present, as I reflect on my time as an archives intern. My experience here has vastly opened my mind to the variety of histories that are accessible thanks to the dedication of the Bodleian Archives.

For three weeks this Spring, I was fortunate enough to undertake the cataloguing of the Bodleian 500 Print Project: the newest addition to the Archive of Daniel Meadows. This series highlights some of Meadows’ most powerful, beautiful, and memorable work from across the span of his career. Meadows is a social documentarist noted for his photographic records of working class individuals, communities, and livelihoods across Great Britain. These records serve as a source of nostalgia and progress for many, and of post-industrialist woe for many others. Such affective features are shared with the work of Welfare State International. This organisation combined the nostalgia of folk traditions with socio-political ambition to reject the machinations of our industrial, capitalist milieu. The items in MSS. Meadows which intrigued me most were the photographs that documented the artistic spectacles of Welfare State International.

Brookhouse Summer Festival, Blackburn, Lancashire, August 1977, from the Welfare State International series. © Daniel Meadows. [MS. Meadows 227, item 5] Reproduced with the kind permission of Daniel Meadows.

Welfare State International co-founder John Fox, in Eyes on Stalks, reflects on the ambitions of Welfare State International right from the start. They “took [their] art into the street in order to reach an audience who wouldn’t normally cross the thresholds of elitist theatres and galleries”. This reality permeates lower class engagements with elitist cultural spheres to this day. I recall a conversation early on in my first year that made the reality of Britain’s cultural class divide feel much more real. I had visited my first gallery at 18, while my peers had crossed that threshold very early on in their lives. Theatre, galleries, and literature were a family event for them: something still difficult for me to imagine. When you grow up in poverty, art is hardly at the top of your priority-list. What WSI did for communities across the country gave people the space and opportunity to access the arts at their doorstep. Community was essential to making it happen. Their work encompassed not only carnivals and processions, but education for youths and collaborative projects that can transform a life weighed down by the constant anxieties of one’s socio-economic situation.

Daniel Meadows’ work relies on collaboration and community, too. This is visible across his oeuvre: photographic projects such as ‘The Shop on Greame Street’ and ‘The Free Photographic Omnibus’ are highly regarded now as a visual record of the changing landscape faced by the lower classes across the country. They emphasise the necessity of their voice and presence in all circles of artistic expression. What Meadows’ work also highlights is what is most relevant to my internship: all people deserve to be remembered. Archives should be filled with a more diverse array of lives and achievements. The world as we know it — its flairs and its flaws — has been transformed by individuals, organisations, communities across the socioeconomic spectrum. His photographic records of Welfare State International capture the collaboration of all these things, and all sorts of people, in action. Meadows’ WSI series keeps the spirit of their work alive today. Their manifesto acknowledges the “need for ceremony” in the lives of the masses, and these photographs capture and celebrate the ceremonies of the everyday.

Parliament in Flames, Burnley, Lancashire, November 1976, from the Welfare State International series. © Daniel Meadows. [MS. Meadows 227, item 4] Reproduced with kind permission from Daniel Meadows.

My favourite material to look at while completing this internship was definitely the the physical and digitised print of the image above. Its combination of people working together amid dilapidating Parliament imagery, construction equipment, and a cluster of typical council estate new builds encapsulates everything that WSI and Daniel Meadows seek to highlight in their work. The anti-capitalist power of WSI’s creative spectacles complements Meadows’ showcasing of a socially diverse Britain. Now that they have a presence in the Bodleian, the institution will be able to paint a much more complete and culturally rich picture of Britain in the archives. The work of Daniel Meadows helps to foster a positive, productive sense of national identity and progress. What it also does is break down the barriers of Oxford’s exclusivity. The archive of Daniel Meadows recognises his contributions to the cultural landscape of Britain over the past, and grants anybody interested the access to his creative projects and processes. The university can feel, at times, detached and alienating through its class divide. This is a common sentiment that pervades academia and beyond. The Archive of Daniel Meadows has been an honour to work with, and has empowered me with a greater sense of belonging in this institution.

The Archive of Daniel Meadows illuminates the working class experience across the latter half of the 20th century. The changing landscape of post-Industrial Britain left people – workers, families, communities – behind in its wake. What hasn’t changed is the socio-economic disparity faced by millions of people across the UK. An institution like Oxford must champion equal opportunity. The Crankstart Scholarship has been invaluable in providing me with access to this internship. I feel very fortunate to have the opportunity to contribute to a more socially, culturally diverse Bodleian through the work of their archives.

For more information on Daniel Meadows, visit his website or view the the catalogue of his archive online.

Guest post by Olivia Hersey, Crankstart Intern, 13-31 Mar 2023.

The happiest day of your life (#ArchivesAreYou)

20th century, Archives and Modern Manuscripts, Event, Humanities, Modern, Photography, Spotlight, Women, , , , , ,
A bride in wedding dress and veil posing for the camera holding a corgi dog, c. 1960s

Bride + corgi, c. 1960s, ©Bodleian Libraries

Helen Muspratt (1907-2001) was a skilled experimental and documentary photographer of the 1930s who produced haunting photographs of pre-war Russia and Ukraine as well as the Welsh valleys in the depths of the Great Depression. For most of her life, however, she was a hardworking studio photographer. From her studio on Cornmarket Street in Oxford she staged lively portraits of everyone who crossed the threshold, from playful toddlers to students celebrating degree days. And she was also a skilled wedding photographer, a job which consumed many Saturdays. Our collection of her wedding photographs spans the 1940s to the 1970s and showcases ordinary people, usually unnamed, in a beautiful array of wedding fashions.

 

Henri Cartier-Bresson comes to Oxford

20th century, Modern, Photography, ,

Hello! I have just started a new job at the Bodleian.

I have been here for 65 days and it’s been quite strange. There are documents and books and unusual things scattered across 28 libraries, and 3 museums jammed with treasures, and botanical gardens with the biggest leaves I’ve ever seen. I haven’t yet visited everywhere, or begun to understand the vast collections that I’m now responsible for.

As Curator of Photography, I am fascinated by all the photographs that have seeped into the library over the years, through legal deposit, and literary papers, and political archives, and sprawling collections of ephemera. It’s well known that the Bodleian holds the archive of WHF Talbot and many precious photographs from the dawn of photography, but did you know that we also have the Talbot family seed bank? – hundreds of little folded envelopes with scribbled handwriting describing the plants that were grown in the Lacock Abbey Gardens. I discovered that we have six copies of the 17th century translation of Ibn al-Haytham’s treatise on optics, the book that brought the modern science of light to Europe. And we have two beautiful portraits by Julia Margaret Cameron that were once owned by Anna Atkins, the great pioneer of early botanical photography. We have Helen Muspratt’s own cameras, and a Daguerreotype of Maria Edgeworth taken at one of the first portrait studios, and who knows what else?

I will write more blogs and introduce everyone to all the wonderful things in our photography collections, but today I would like to tell you about the time that Henri Cartier-Bresson came to Oxford.

Henri Cartier-Bresson was one of the greatest photographers of the 20th century. He thought of photography as the art of capturing a single fleeting moment that articulated something profound about the people and places he saw. And so he would wander the streets, looking for a fragment of life crystallised in a split second. If he was quick, he’d catch it and create an impossibly perfect image. And so he captured children and horses; a cyclist on the move with a newspaper in front of his face; a figure in flight, leaping across a puddle; a fire breather spitting flames into the air; a smiling infant balanced on her father’s outstretched palm. Photography made into the search for a decisive moment.

The Bodleian has a fine collection of his photobooks – Images à la sauvette, Les Danses à Bali, People of Moscow, Les Européens, China in Transition, Man and Machine, and more – but we had no original photographs.

At least, we didn’t until Heather Rossotti contacted me a month or so ago with a signed photograph that Cartier-Bresson had given to her mother in 1975.

Photo: Henri Cartier-Bresson, 1938; © Henri Cartier-Bresson; © Fondation Henri Cartier-Bresson / Magnum Photos.

 

Sunday on the Banks of the River Marne is a beautiful photograph of a group of people having a nice picnic by the river. Looking down the bank towards a boat; picnic hamper open; man pouring wine into a glass tumbler. The scene is lovely and the Rossotti family kindly wanted to donate it to us, along with a small parcel of documents.

The donor’s mother was Dr Hazel Rossotti, a chemist and Fellow of St. Anne’s college. In 1974, she had nominated Cartier-Bresson for an honorary doctorate. He was delighted, writing back right away to accept the honour.

Dear Sir,

I want to thank you for your very kind invitation from the Hebdomadal Council of the university to accept an honorary degree of doctor of letters. – I want to let you know how honoured I am. –

May I accept it on behalf of a particular conception of photography which perhaps may be summarised as an expression of the world in visual terms and also a perpetual quest and interrogation? It is at one and the same time the recognition in a fraction of a second of a fact and the rigorous arrangement of the forms visually perceived which give to that fact expression and significance. – A conception of photography which is shared by many.

Very sincerely yours,

Henri Cartier-Bresson

Photo: Hazel Rossotti, 1975; by kind permission of the Rossotti family.

 

In the summer of 1975, Cartier-Bresson came to Oxford and attended the ceremony in a bright red robe and mortar board. A bewildering Latin eulogy was read to him. He did not understand a word of it, but John G. Griffith, the university orator, still took great pains to craft a speech worthy of the photographer; corresponding back and forth with Dr Rossotti to craft phrases and sharpen ideas.

He has indeed gone one better than Homer’s Odysseus, who ‘saw cities of many men and sensed their casts of mind’, in that he has left behind brilliant evidence of his glimpses of even the most chance-sent moments, now recorded for the unending delight both of his contemporaries and of posterity, whether the fancy gazing at Danses à Bali or From One China to Another or whatever else he has captured in the briefest of split seconds and rendered eternal by his art.

By way of thanks, Cartier-Bresson gave Dr Rossotti a signed photograph of a Sunday picnic at the edge of a river. The letters, and ceremonial booklets, and a transcript of the orator’s address were all kept by Dr Rossoti. They help us to tell the story of Cartier-Bresson’s visit to Oxford and to explain how this photograph came to exist.

It’s not very much in the scheme of the Bodleian’s treasures, but it’s a fitting tribute to him – a photograph and a small archive that illuminates a fragment of time; a little moment in Henri Cartier-Bresson’s own life.