Our new Main Library exhibition “Hidden in Plain Sight: Liberating our Library Collections” is now open! The exhibition is free and open to members of the public.

Across UCL Library Services, staff members, students and volunteers have been working together to discover, record and celebrate the diverse voices in our collections. Through a number of projects, overseen by the Library Liberating the Collections Steering Group, we have gained a better understanding of our collections and improved their accessibility. However, we are at the early stages of this important initiative and there is still more work to be done.

The exhibition is located in the Main Library Staircase and First Floor. It is open to the public – just speak to a member of the Main Library front desk about getting a 15 minute pass to see the exhibition.

A catalogue for the exhibition is available online.

Items in the exhibition have also been digitised.

Last term the Outreach team of UCL Special Collections were delighted to collaborate with Year 9 History enthusiasts at Kelmscott School in Waltham Forest. The club, called Becoming an Historian, took place over six weekly after-school sessions. Students defined the skills and qualities which make a good historian, learnt how to undertake historical research of primary resources, and each explored an item from UCL Special Collections in-depth. They chose the History of London as their theme and have produced informative and dynamic museum labels presented in this mini digital exhibition. You can also read their personal responses to the collection items on Twitter. The students each gained different things from participating in the club, as these three examples attest:

My favourite thing about the club is the amount of discussion we have. An opportunity to speak out your thoughts freely was very encouraging.

I liked getting to know more about how research is conducted.

My favourite thing about the club was the opportunity to work with others on a subject that I am passionate about.

To conclude the club, the students came to visit UCL East on 30 January 2023 – the very first school group through the doors of One Pool Street! Supported by the Outreach team, the students were thrilled to experience the original historical items they had been researching  – having worked from facsimiles until that point. One student observed:

‘It was interesting to see the details on the real-life item, as it was much more intricate than online.’

While another commented:

‘I was surprised seeing the actual item and the actual text. It was great!’

UCL Special Collections say a huge thank you to the students for undertaking this research and for helping to tell the stories of these extraordinary rare books and archives in our care.

Living London, Volume 1, Ed. George R. Sims (1902)

Living London was written in 1902 by George R. Sims. It describes scenes of people looking for work in the London Docklands. At the time of writing, Britain was plagued by a deep class divide; upper classes saw themselves as superior to the working class. The mixing of different classes was frowned upon. Sims himself was the son of a successful merchant. Through the medium of the book Sims disparages those looking for work in the docks by describing them as ‘the common slum type, either criminal or loafer or both.’

Zahra

 

The several plans and drawings referred to in the second report from the select committee upon the improvement of the Port of London, illustrated by R. Metcalf, William Faden (1799)

William Faden (1749-1836) was a British cartographer. He was so well known that he was the royal geographer for King George III. This meant that he had to publish and supply maps to the royals and parliament. The map shows a detailed view of London.

Musa

William Faden was a British cartographer and a publisher of maps. He was born on July 11 1749 and died on March 21 1836. He self-printed the North American Atlas in 1777 and it became the most important atlas chronicling the revolution’s battles. He also made this map of the River Thames which gives a lot of information about the way buildings were placed, and the trading docks that held the actual trading ships used back in the day.

Petar

 

Letter from the Trades Advisory Council regarding wartime food regulations in relation to the baking of challah (1945)

This letter by the Trades Advisory Council was drafted in the 1930s and reconstituted in the 1940s to prevent growing hostility towards the Jewish population from British fascists. In this letter it states that the Jewish challah loaf was very similar to the bun loaf, and would be placed in the same category as it. It goes on to state that the ingredients for it should be rationed for the best of the British people.

Ahrab

The Trades Advisory Council was created in the 1930s and reconstituted in 1940 to challenge the British fascists. Because the Jewish bread challah is extremely similar to bun loaf, which was rationed, the council decided to add it to the same category as the bun loaf, saying that every British citizen was to put the nation first.

Lu’Ay

 

Vagabondiana : or, anecdotes of mendicant wanderers through the streets of London; with portraits of the most remarkable drawn from life, John Thomas Smith (1814)

This is a book written and illustrated by John Thomas Smith. It was published in 1813 and made from paper with printings of paintings. The author was born in 1766 inside a Hackney carriage. He was educated at the Royal Academy and was nicknamed ‘Antiquity.’ He attempted to become an actor, and then a sculptor. His eventual occupations were engraver, draughtsman and curator.

Ace

 

Metropolitan Sewers: Preliminary report on the drainage of the metropolis, John Phillips (1849)

Due to a combination of growing population, lack of sanitation and sewage systems, a result in the capital was several severe, contagious outbreaks of sickness, like cholera and typhoid. London’s Metropolitan Commission Sewers was established in 1848 as part of the solution to the issue. This text of 1849 describes the necessity for construction. It has plans for the running of a new sewer tunnel west to east, to transport London’s waste. The tunnel wasn’t built, but this map depicts London as far as Stratford.

Faith

 

East London, Walter Besant (1901)

‘The Hooligans’, a picture from Walter Besant’s book East London, showcases five figures, two armed, in a dark room with an arched entrance. One man seems to be lying down in pain, possibly from an injury caused by the two armed men. In a passage below the picture it is stated that ‘the blood is very restless at seventeen.’ This could be related back to London’s notoriously high knife crime and gang violence rate, with thousands of children taking part. Despite being published in 1901 East London mirrors modern London and its violent tendencies.

Natalie

What frightens me the most were ‘The Hooligans.’ Looking at the picture alone gives me the shivers. The beaten-up man lies defeated in the hands of the hooligans. These behaviours are similar in today’s knife crime London.

Habiba

This book was published in 1901, and it was written by Walter Besant. Besant was born on August 14 1836 and died on June 9 1901. He was an English novelist and philanthropist and who wrote quite a lot of works, one of them is East London. A good enough question is why did he write East London? Besant wanted to describe the social evil in London’s East End. And in my personal opinion, in this book he wanted to show people who lived in the west and in the south how people live in the east.

Kiril

 

Remarks on rural scenery : with twenty etchings of cottages, from nature; and some observations and precepts relative to the pictoresque [sic], John Thomas Smith (1797)

The book Remarks on Rural Scenery was written in 1797 by John Thomas Smith, as the first of two items bound together. The author was also known as ‘Antiquity Smith’ and was born in 1766 in a Hackney carriage. When he left school he tried to become a sculptor, but left to study at the Royal Academy to become a painter, engraver and antiquarian. With this book he tried to bring to the mainstream the picturesque life in rural areas of England.

Viky

 

Common Lodging House Act, Metropolitan Police (1851)

The industrial revolution contributed to the population growth in the nineteenth century. During the century a record number of people relocated to London. By the middle of the century areas where cheap lodging could be found grew dangerously congested. The least expensive types of lodging were common lodging houses, where residents shared rooms and frequently beds with multiple other residents. Under the 1851 Act, these homes were registered with Metropolitan Police. These regulations were a direct reaction to the inadequate conditions of crowded housing and unscrupulous landlords and recognised the risks to public health posed by disease and poor sanitation.

Maleah

The Common Lodging Housing Act, 1951, sometimes known as the Shaftesbury Act, is an Act of the Parliament of the United Kingdom. It is one of the principal British Housing Acts. It gave London boroughs the power to supervise public health regarding ‘common lodging houses’ for the poor and migratory people. This included fixing a maximum number of lodgers permitted to sleep in each house, promoting cleanliness and ventilation, providing inspection visits and ensuring segregation of the sexes. These powers were extended to local authorities in the Common Lodging Housing Act of 1851.

Malaeka and Inayah

This post has been co-authored with Professor Marius Turda.

The IOE Library has on display a shortened version of the exhibition “We Are Not Alone”: Legacies of Eugenics which was first shown at the Weiner Holocaust Library in 2021 and which is now at the Royal College of Psychiatrists. The exhibition was curated by Professor Turda (Oxford Brookes University) with some content from UCL Special Collections (Galton Laboratory Collection and the IOE Library’s History of Education Collection) as well as content from the LSE’s Library. Following the opening of the exhibition, the Weiner Library hosted a Roundtable Discussion where all who worked on the exhibition shared our research. Both Indy Bhullar, Curator for Economics and Social Policy at the LSE Library, and I were subsequently invited by Subhadra Das (previously Curator of Science Collections at UCL Culture and now an independent scholar) to publish this research as short stories for the Wellcome Collection. The following provides some background on eugenics and the resources that are currently on display at the IOE Library.

The title of the exhibition, “We are Not Alone” is inspired by a widely circulated Nazi eugenic poster from the mid-1930s. After the introduction of the 1933 ‘Law for the Prevention of Hereditarily Diseased Offspring’, Nazi propagandists claimed that their eugenic programme of forced sterilisation was in no way different to provisions already existing in the penal legislation of countries such as the USA and Sweden, and which was about to be introduced in other European countries such as Britain, Hungary, and Poland. ‘We are not alone’, they said, hoping to garner international support for their plans to eliminate ‘defectives’ from society and to ‘purify the race’.

Eugenics was a global movement. The exhibition highlights this aspect, providing historical examples from Britain, USA, Italy, Sweden, and Romania, whilst recognising that eugenics programmes targeting individuals with mental disabilities and ethnic minorities were not stopped after 1945. They continued during the post-World War II period in countries as diverse as the USA, Scandinavia, Japan, Czechoslovakia, and Peru. The exhibition aims, therefore, to offer a historically informed account of our eugenic past, present, and future, balancing various elements of continuity and discontinuity, of idiosyncrasy and similarity between eugenic movements across the world.

The internationalisation of eugenics reflected a general appreciation in many parts of the world that science was the sufficient and necessary foundation for the long-awaited renewal of the human race. As a self-styled scientific theory of human betterment and planned breeding, eugenics was based on the principle that people who were deemed socially and biologically ‘unworthy’ of reproduction should be excluded. In the name of future generations, eugenicists dissolved aspects of the private sphere, scrutinising, and working to curtail reproductive, individual, gender, religious and indigenous rights. The boundary between the private and public spheres was blurred by the idea of public responsibility for the nation and the race, which came to dominate both. In the twentieth century, the state and the society at large increasingly adopted a eugenic worldview, even though none of it was based on proven scientific arguments. Instead, eugenics relied on speculations about social norms, cultural, ethnic and gender differences, and racial worth. Ideas of economic and social productivity also flowed readily from eugenic arguments, and eugenicists argued that if an individual was found to be socially ‘unfit’, it was appropriate for them to be ‘weeded out’. ‘Unfit’ had become a label for those members of society who were deemed ‘pathological’, ‘criminal’, ‘asocial’, ‘foreign’ and ‘undesired’.

Eugenicists claimed to act in the name of future generations by ensuring the continuity of people who were believed to be ‘hereditarily healthy’. Some eugenicists highlighted the primacy of heredity in shaping character and behaviour, while others insisted equally on the role of education and the environment. Not surprisingly, they also disagreed over which eugenic measures were deemed practical and efficient, and which ones should be rejected on ethical, scientific and religious grounds. In Britain, for instance, the Eugenics Society set up a committee to draft a sterilisation bill in 1929, chaired by the society’s president, Bernard Mallet. Two years later Major Archibald Church (1886–1954), a Labour MP and member of the Eugenics Society, introduced a sterilisation bill in the House of Commons, but it was rejected. One of his Labour colleagues, physician Hyacinth Morgan (1885-1956) rebuked the bill sharply: ‘Some when inebriated see beetles; the eugenist intoxicated, sees defectives’. In 1932, another sterilisation committee was established under the chairman of the Board of Control, Lawrence Brock (1879-1949). But these efforts led nowhere, as no sterilisation bill was introduced in Parliament again.

The exhibition presents us with the opportunity to review how assumptions and attitudes rooted in eugenic principles became entrenched in British education. From the beginning, eugenics appealed to educationalists, school reformers and feminists who advocated teaching the nation’s children and the youth ‘sound morals’ alongside physical education and modern ideas of hygiene. These were considered prerequisites for maintaining a healthy body and mind, and in society’s advancement towards a eugenic future. Educationalists such as the co-founder of the London School of Economics, Sidney Webb (who was instrumental in the establishment of the London Day Training College –now the IOE, UCL’s Faculty of Education and Society), was a key supporter of eugenics. Other examples include heads of colleges such as Margaret Tuke, Principal of Bedford College and J. J. Findlay of Owen’s College, Manchester, the London County Council’s Schools Inspector, W. H. Winch, and the educational psychologist Cyril Burt.

The cases display the intelligence tests or IQ tests from the Psychology and Human Development (PHD) Collection at the IOE. These tests were adapted by Cyril Burt from the IQ tests developed in Paris by Alfred Binet and Theodore Simon at the turn of the twentieth century. Burt’s ‘mental footrule’ was used to rate the intelligence of a child and his evaluation of mental deficiencies influenced the outcome of the 1924  Hadow report on psychological testing and the  1929 Wood Report of the Mental Deficiency Committee and the Board of Education. The latter recommended the reclassification of children considered to be ‘mentally defective’ . Also on display are publications by the experimental psychologist, H. R. Hamley and director T. Percy Nunn on The Education of Backward Children: and, Juvenile Delinquency in England and Wales as well as A Textbook of Hygiene for Training Colleges by Margaret Avery, Vice Principal of Warrington Teacher Training College.

Besides focusing on biological hygiene, Avery devotes an entire chapter on eugenics. This chapter provides examples of how eugenic thinking persists in the present day and is consistent with recent statements made by some politicians currently in power. For example, Avery states that while there are many ‘causes of pauperism’, one of them is that the working classes simply ‘lack…”grit”‘(p. 310)–a message that is not dissimilar to the one recently expressed by the (now previous) prime minister in relation to ‘British workers being the worst idlers in the world’. In relation to immigrants, Avery states: ‘We should welcome the right type of immigrant and discourage the wrong type’ and ‘we… receive the off-scourings of other countries, and these are racially very undesirable’ (p. 320). Once again, this mirrors the views of the present government on refugees and immigrants. Avery ends her chapter by stating that Christianity is on the side of the eugenicists because it, ‘more than any other power, has given us a sense of the infinite value of human life, and the eugenicist is trying to prevent the wreckage of human life’ (p. 323). While the Church has spoken out against these messages in Britain, the story is far from different in the United States (see Witnessing Whiteness by Kristopher Norris). Avery’s book continued to be published in several editions until 1951. It was the recommended textbook for the Board of Education’s teachers’ examination in hygiene. Undoubtedly, it will have influenced the thinking of generations of teachers and their students.

For most of recent history, access to the means to read, write, publish and collect texts was restricted to society’s most privileged. Most of the 150,000 rare books that are looked after by UCL Special Collections were donated over the past two centuries by members of the same privileged group. Collecting books is never neutral: the choice to purchase books in a certain discipline, or on specific topics or by particular authors also implies the choice not to purchase other materials. The interests and prejudices of the collectors themselves and the society they lived in deeply influenced those decisions.

The result is that the rare printed collections that we have inherited overwhelmingly document the experiences, achievements and concerns of white men of European heritage. The experiences of less privileged people – those of non-white ethnicity, women, those living with a disability or people who are LGBTQ+, for example – are much more difficult to find.

Uncovering obscured histories

To start addressing this challenge, we set up a volunteering project called Liberating the Collections in 2021. Thirteen volunteers searched our catalogue for books, pamphlets and journals that relate to the experiences of people from marginalised groups. Focusing on topics such as women book owners, same sex love and desire and BAME authors, they compiled a list of 650 books from our collections that provide glimpses into some of those obscured histories. A new display at the Student Centre, which is opening on 15^th February ’22, will showcase a selection of images from the items that the project has uncovered.

Complex questions

Searching for these underrepresented voices in our collections brought up many questions that don’t have easy answers. Are descriptions of non-Western traditions by representatives of the nations that colonised these countries examples of preservation or exploitation? How do you uncover women’s histories when the surviving historical evidence is scanty? Can we apply modern notions of sexual identities to texts that were written by historic people?

These issues are reflected in some of the items that are included in the display. There is a copy of a sixteenth-century epic poem that was signed by Mary Rich and Margarit Riche, whose identities we can only guess at. Another item in the display is a volume of poetry by Katherine Philips (1632-64), who some consider to be a lesbian poet, although others have called this reading anachronistic. Also included is an illustration from Kaladlit okalluktualliait (1859-61), an anthology of Inuit folk tales that was published by a Danish colonial official.

Next steps

Listing items from our collections that relate to underrepresented and marginalised groups is only the first step in amplifying these voices. Through updating our catalogue records with the findings of the volunteers, we will make these items easier to discover. For example, where volunteers have identified women who previously owned books in our collections or women printers who used their late husband’s name, we are adding these names to the catalogue record. We are also planning to digitise some of these items so that they are freely available online, and we are using the list as a basis to diversify the items we use in our exhibitions, classes and events.

The Liberating the Collections project has only scratched the tip of the metaphorical iceberg, but already we are finding treasures as the ice starts to melt.

Our new online exhibition, Word as Art: Beauty in the Margins, is now open!

Writing is an essential part of everyday communication. It permeates every element of our society so that it is easy to forget its prevalence. Yet every time we put words down on a page or type them on a screen, we are creating a piece of art unique to us.

Our new online exhibition, Word as Art: Beauty in the Margins, explores the permeable borders between art and writing. We examine manuscripts, printing, textiles and objects that celebrate the way in which we have embellished the word, making it far more than just a means of communication.

In addition to items from the Library collections, the exhibition includes three pieces of art by students from the Slade School of Fine Art at UCL. Their interpretations of writing and communication demonstrate that the books, manuscripts, and letters of the past continue to inform and inspire creative practices of the present.

The inspiration for the exhibition is the Slade 150 anniversary year, celebrating fine art teaching and research since 1871.

The exhibition runs from October 2021-July 2022, with plans for a physical presence in the UCL Main Library from December 2021.

To find out more visit our exhibitions webpage.

UCL Special Collections is asking for submissions from current undergraduate and postgraduate students at The Slade School of Fine Art who would like to be included in an online exhibition with the working title ‘Word as Art.’ This exhibition will help highlight the historic artistry of the written word while connecting it to the present legacy of The Slade School of Fine Art. 

‘Word as Art’ is an exploration of the artistry that takes place whenever we make words physical. It includes manuscripts, printing, textiles and objects that celebrate the way we have embellished the word and make it more than just writing on a page. We are inviting students at The Slade School of Fine Art to join a collaborative exhibition of selected works from UCL Special Collections and contemporary arts works. We would like to see reflections on words and writing that challenge us to think about how writing reflects ourselves as much as the meaning of the word on the page. 

Three candidates will be selected for inclusion in UCL Special Collections Library Exhibition celebrating the artistic works present in UCL’s rare books and archives collection. It will be displayed online alongside rare books, manuscripts, and archival items. By being featured alongside items from UCL Special Collections it can help provide a new perspective on the exhibition themes as well as connect the artistry of the past to current practices.  

Due to Covid and space restrictions, artwork will be displayed online. Digital artworks are welcome, alongside photos and videos of physical or performative artworks. Currently there are no plans for a physical art display, but we will re-assess this on a case-by-case basis.  

The selected artists will receive a £100 prize for successful submissions and the opportunity to publish a brief statement about this work in the exhibition catalogue.  

If you would like to contribute, please send your artwork alongside a brief explanation (no more than 200 words) as to how your artwork ties into ‘Word as Art.’  

Deadline for submissions is midnight on May 31, 2021. We aim to reply to all applicants in mid June and the exhibition is expected to go live in September 2021. Please send your submissions to library.spec.coll.ed@ucl.ac.uk. 

How do you make a library? In our current exhibition in UCL’s Main Library, we suggest that all it takes is three basic ingredients: books; somewhere to keep the books; and people to read and look after the books. Nice and easy… right?

Of course, From Small Library Beginnings: A brief history of UCL Library Services very quickly shows us that it’s not that simple. Tracing UCL’s libraries back to the start of UCL itself, we find that a lack of funding meant that the planned Great Library was never built, and the very first library was named instead the Small Library – a diminutive start for a university library service that today supports over 40,000 students.

Buildings need to be built: it shouldn’t be surprising that they’re occasionally difficult to come by. But even at a university, people can be in short supply, too. Certainly, the library doesn’t seem to have ever lacked for users, and one never has to look far to see traces of past borrowers in the form of notes scribbled in the margins of textbooks*. However, staffing a library can be a different matter, and for some 40 years, until 1871, UCL dispensed with the role of Librarian entirely, employing only an assistant – sometimes. A lack of funding was once more to blame.

That only leaves books. Here, it seems, UCL has been more fortunate. From the beginning a large number of books were donated, bequeathed, gifted and even bought, so while they may not have had a home or been well looked after, they were at least available to be read…

…Until the London Blitz, anyway. The Second World War saw the most precious books and manuscripts in the library’s collections sent to the National Library of Wales for safekeeping. Of those left behind, an estimated 100,000 were lost or damaged when the university was hit during a 1940 air raid.

We’ve been careful to label the exhibition as a ‘brief’ history, and it would certainly be difficult to present a full narrative of the service’s 17 sites and almost 200 years of existence in just one display. But you’ll still find plenty of fascinating stories here: a library bell made from 17^th Century parts; the student life of famed librarian S. R. Ranganathan; the rise and fall of school libraries, and the impact of this on information literacy at universities.

For more on these stories and the items that tell them, download the exhibition catalogue, which includes an introduction by Anne Welsh from UCL’s own Department of Information Studies.

From Small Library Beginnings runs until Friday, 13 December in UCL Main Library, and is open to the public on weekdays, 9.30am-5pm.

*Marginalia can be fascinating and tell us a great deal about a book’s use and its previous owners. That being said, please don’t write in your library books.

My name is Ibolya Jurinka. I am spending 3 months in UCL Special Collections as an Erasmus+ intern. Erasmus+ is not only a student exchange programme; it also provides overseas opportunities for all employees wishing to gain practical learning experiences from partner organisations in higher education.

I come from Hungary. I have been working as a librarian at the University Library and Archives of the Eötvös Loránd University (ELTE).

I catalogue journals, especially retrospective cataloguing. I mostly work with materials from 19-20^th century, but I have also catalogued periodicals from 17-18^th century and also from the 21^st century. This summer I catalogued the oldest journals of our library with one of my specialist rare-book colleagues. These are from the 16^th century:

I like this work and find it interesting, so wanted to gain more experience in this area abroad. This autumn I am cataloguing Little Magazines here at UCL Special Collections, and I have organized an exhibition about the most interesting magazines.

Little Magazines Collection

Basic information about Little Magazines

(source: SOAR, Geoffrey: Little Magazines at University College London)

‘Little Magazines are those that publish creative, often innovative work, with little or no regard for commercial gain. They sometimes have very small print runs and may last for relatively few issues. Most of them are from 1960s-1970s. The library of University College London started to collect Little Magazines from 1964’. It is a subsection of Small Press Collection.

Most of the Little Magazines are literary journals; they focus especially on modern, 20^th century poetry and prose.

We can find colourful art magazines too in the Little Magazines Collection:

Cataloguing of Little Magazines

Cataloguing of little magazines is hard, because:

• volume numbers and dates are often absent;
• it is often hard to tell if a magazine is current or not;
• many are published irregularly and often at widely spaced intervals;
• many do not appear in official current bibliographies;
• they are often visual and it is hard to identify the title.

Visual Poetry in the Little Magazines exhibition, Main Library Donaldson stairs

Some of the Little Magazines contain visual and concrete poetry. This type of poetry appeared in the 20^th century and became very popular. The exhibition focuses on little magazines containing visual poetry, whose title begins with the letter ‘A’. If you are interested in this exhibition, you can visit it from 24th October 2019 to 11th of December 2019 in the Main Library, either side of the stairs to the Donaldson Library. For more information, see the leaflets next to the exhibition cases.

 

We can go one better than the traditional ‘ten Lords’ and offer you ‘one royal’…

We’re not going to lie to you, this one is a bit tenuous. But we couldn’t resist the opportunity to share one of our most successful outreach projects to date.

Thousands of children have been involved in an immersive First World War education programme that UCL Special Collections have played a key role in delivering. This was part of the Shrouds of the Somme project, one of the major centrepieces of Armistice commemorations that took place at the Queen Elizabeth Olympic Park from Thursday 8 to Sunday 18th November this year.

The Shrouds of Somme project is the brainchild of Artist Rob Heard, who has spent the past five years making more than 72,000 small shrouded figures, each one representing one of the men killed and never recovered from the battled field at the Battle of the Somme. On Thursday 8 November, each of the shrouds were laid out as a graphic reminder of the scale of sacrifice they made in the Great War. The installation welcomed just under 3000 school pupils as well as around 85,000 members of the public.

UCL Special Collections teamed up with the Commonwealth War Graves Commission and UCL Institute of Education’s First World War Centenary Battlefields Tour Programme to create free online teacher resources, worksheets for visiting schools and a programme of workshops for schools in the neighbouring Olympic Park boroughs (Tower Hamlets, Hackney, Waltham Forest and Newham). Special Collection’s Education Coordinator, Vicky Price, delivered 33 workshops, visiting 12 schools and reaching almost 1000 pupils.

The workshops combined historical enquiry with creative writing and used primary resources from UCL‘s College archive. Through exploring archival items like Rosenberg’s student record and a publication of perhaps his most famous poem, Break of Day in the Trenches (in Poetry: a magazine of verse. Vol. IX (3), December 1916 [reprint edition, 1966], STORE Little Magazines), pupils learnt of the poet Isaac Rosenberg, who had been a student at the Slade School of Fine Art. He grew up in a Jewish working class family in Mile End and went to art school to become a painter. When war broke out, he volunteered to fight, sending poetry back to the UK from the trenches. He was killed in France in 1918.

But where does the royalty come in? (I hear you say). Well, we were honoured to be invited to attend a visit by The Princess Royal at the installation site. Vicky Price (UCL Special Collections Education Coordinator) shook the Princess’ hand and explained the work we had done alongside pupils and the Head Teacher from the Bobby Moore Academy.

Last week saw UCL Special Collections hold its first Widening Participation Summer School. For four days, a group of twelve 17 year olds from in and around London explored archives, rare books and manuscripts here at UCL, guided by colleagues within Special Collections.

We had brilliant time, and were impressed with the students’ ability to link collection items to areas of their own knowledge and contextual understanding. We also spent a day at The National Archives, visiting their current exhibition, Suffragettes vs. The State, and discussing the notion of authenticity in relation to exhibition interpretation.  The participants then got to work researching collection items from UCL Special Collections, developing interpretation for a public exhibition on the final day.

You can see examples of their work in this video:

We would like to thank everyone at Library Services for accommodating the group, whether that be in the Science Library or the Institute of Education Library, and for Special Collections colleagues who offered their time and expertise.

We are excited to announce UCL Special Collections’ newest addition to the outreach and education programme – our first Summer School programme, in August 2018!

We will be offering 14 Year 12 students a chance to learn about all things special collections – from what we keep, why we keep it, how we keep it and how our collections can be significant to an array of audiences.

Funded by Widening Participation, the four day programme will make good use of our wonderful host city; we will explore how special collections items are interpreted and displayed at The National Archives (at their exciting current exhibition Suffragettes vs.The City) and The British Library.

Our team of specialists will offer guidance and advice as participants explore the notion of authenticity in interpretation, and participants will experiment with applying what they have learnt to some chosen manuscripts, rare books and archival items at UCL.

The final result will be an exhibition that presents students’ own responses, in a variety of formats and genres, alongside the items themselves. The exhibition will take place in UCL’s South Junction Reading Room on August 9th from 2pm to 4pm – it will be free and open to the public, so please come along!*

*Visitors are invited to pop in at any time between 2pm and 4pm.  Should the room become full we might ask you to wait a short while before entry, due to space restrictions.

Written by Laurent Cruveillier on June 29, 2018

The College Plans, belonging to the Records Office Collections within UCL Special Collections, Archives and Records Department, are housed in part at the National Archives and in part at UCL. They are architectural plans and drawings of several landmarks of the UCL campus, such as the Cruciform, the Rockefeller Building of the “New” Chemistry building.

If most of these plans and drawings, dating from the end of the 19^th and early 20^th century are in stable condition, some show conservation pathologies that prevent their usage by students, scholars or the public, or would impede their handling for digitization and cataloguing purposes.

They present naturally occurring conditions in working documents, such as pin holes, folds, dirt and smudges, creases… but these objects are also often torn, cockled, warped, and bear historic repairs, many of which are made with pressure-sensitive adhesive tape that needs to be removed. Those conditions are worsened by the fact that most paper substrates are brittle, particularly the different kinds of tracing paper.

A conservation campaign was then launched to stabilize as many records as possible. The work started with surveying 485 items of the collection, and identifying the unstable ones.

The plans and drawings were prioritized according to their state and their relevance for the curators of the collection, and were treated according to a protocol aiming at stabilizing them with minimal intervention:

• Setting of tears using wheat starch paste
• Repairs and consolidation of regular paper objects using different thicknesses of remoistenable repair tissue prepared with wheat starch paste and methylcellulose.
  Some of the tissue was toned with black acrylic paint for the repairs over black media on the recto of objects.
• Repair and consolidation of tracing paper using remoistenable tissue prepared with Isinglass: a fine protein adhesive prepared using swim bladders of sturgeon fishes.
• Adhesive removal using poultices prepared with methylcellulose and ethanol, or heated spatulas and other solvents.
• Structural infills
• Photographic and written documentation:
  Condition and treatment records
• Housing in polyester pockets.

These interventions were carried out by paper conservators at UCL Special Collections Conservation Department, and also involved the participation of UAL – Camberwell College MA Conservation intern students, who were given the opportunity to add working collection objects treatments to their portfolios while learning and practicing different techniques, such as preparing Isinglass, removing adhesives or repairing tracing paper.

Priority was given to stability for handli

ng purposes, also respecting the nature of each substrate. For instance, repairs on tracing paper were done with extremely thin tissues to avoid being visible by transparency. Due to their aesthetical value, some objects were nevertheless given extra care, with the usage of toned tissues for repairs and infills. One plan with a large lacuna even received an infill digitally produced to minimize the visual impact of interrupted lines.

In the images, one can see the detail of record Ref. Nº ROC 86, a drawing for a decorative swag of the Board Room in the Rockefeller building before and after conservation. It was extremely rewarding for the conservators to discover that the ornament was still in place. As recommended in writing on the May 1907 document, the sculptor hadn’t “adhered” exactly to the drawing, but his execution of the motif still allowed super-imposing the final result with architect J. Carmichael’s vision.

Written by Jessica Womack and Helen Biggs. A version of this blog post was first presented at the Education, College Women and Suffrage: International Perspectives conference at Royal Holloway on Wednesday, June 13 2018, as part of the panel, Journey in Gender Equality: University College London, Women and Suffrage, 1878-2018.

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2018 marks 100 years since the franchise was first extended to (some) women in Britain. The anniversary is being celebrated across the UK (as well as here at UCL), and it seemed like the perfect opportunity for UCL Special Collections to showcase some of the women’s suffrage (and anti-suffrage!) items in our collections. It was hoped that this would help to redress one of the noticeable weaknesses in our past exhibitions: a lack of women’s voices.

While many of our collections are hugely historically significant, women are under-represented within them. It’s not just a question of whether historically women were writing, or researching, or creating, and whether those works have been published or recognised. It’s also a question of whether the collectors whose libraries and archives we now hold considered women’s works to be worthy of collection. With the exception of the occasional standout – a Mary Sidney or Wollstonecraft – very often they did not.

It’s also worth noting that most of the collections we have purchased or received over time were collected by men – so we hold material collected by men, written by men, and generally, on subjects which were considered to be of interest to men. Creating ‘Dangers and Delusions’?: Perspectives on the woman’s suffrage movement was an opportunity to elevate the women’s voices that we do have in our collections, but one not without its difficulties.

While Special Collections holds a great many beautiful books, striking magazines, and fantastic photographs, most of our materials are paper, which is difficult to display. It is often unattractive and doesn’t draw the eye – it’s flat, both literally and figuratively. This is a challenge when creating any exhibition from our collections, as what we display has to be relevant to the exhibition’s theme – but not so boring to look at that no one will notice it.

Another challenge that was particularly relevant to Dangers and Delusions is copyright – as information professionals we tend to be risk averse when it comes to displaying material, as we are very aware of issues around intellectual property. The age of many of the items we wanted to display in Dangers and Delusions meant that they were still in copyright, which meant we had to judge what would be the bigger risk: that the copyright holder for these items would find out we were using them in an exhibition and be displeased, or that some of our most interesting works didn’t get the exposure they deserved?

When possible, we want our exhibitions to create connections between our collections, our exhibitions theme, and UCL itself. Sometimes these connections are easy to make. For examples, included in Dangers and Delusions is a letter from Alexandra Wright (who worked or studied in UCL’s Biometric Laboratory) to Karl Pearson (who ran it.) The letter contains Wright’s account of a women’s suffrage meeting that was broken up somewhat violently by male medical students from UCL and other London universities. In this, the connections to both UCL and women’s suffrage are very clear.

On the other hand, the student record card for the Countess Markievicz, née Constance Gore-Booth, requires quite a bit of explanation. Unlike Wright’s letter, which explicitly mentions both suffrage and UCL, the record card doesn’t state that Markievicz attended the Slade, or that she was one of the first women elected to Parliament. This means that without prior knowledge, exhibition visitors can’t make the connections themselves, but need to be given extra information to do so. Creating the “interpretation” – context – for items such as this can be both challenging and time consuming.

Our flagship collections, such as the Orwell Archives, are great draw-cards for exhibitions, especially as they draw audiences from beyond academia. However, most of them are, again, heavily concentrated on men’s writings, men’s views and men’s opinions. For Dangers and Delusions, it was suggested that we included writing by Jeremy Bentham, a supporter of women’s suffrage (and a popular figure in UCL’s own mythology.)

Unfortunately, our copies of the works in which he expresses his more positive views of women’s legal rights were not available to display in the exhibition. Instead, we included An introduction to the principles of morals and legislation, in which Bentham writes that woman is ‘commonly inferior’ to man in strength, knowledge, intellect and ‘firmness of mind.’ These sentiments are very similar to those expressed by anti-suffrage campaigners featured in the exhibition; to present them together erroneously suggests that Bentham was also against women’s suffrage, when his views on women, and women’s legal and political rights, were more complex than wholly accepting or rejecting the idea that men and women were equal.

In retrospect, as we were unable to fairly represent Bentham’s views, a better decision may have been to not include any of his writings, even if this meant that the exhibition drew a smaller audience overall. Besides the misrepresentation of Bentham, including his work did privilege anything he had to say about women over what women have to say about themselves.

The importance of creating a clear narrative for the exhibition meant that some of our collections which do have a strong focus on women could not be included. Early on in discussions around the exhibition, the idea of looking at how the fight for equality developed into second wave feminism, and radical Women’s Lib movements, was floated. This would have allowed us to represent women who often don’t make it into the university archives (as those who did in the early 20^th Century were often white women of a middle-upper class social status, many of whom were related in some way to male academics at UCL.) But ultimately the exhibition focused more narrowly on reactions to women’s suffrage, and other women’s movements weren’t relevant to the theme.

So how successful were we in elevating women’s voices in our exhibition? Over half of the items in Dangers and Delusions are created or co-created by women or women’s groups; not as high as one may hope and yet a marked improvement on last year’s exhibition, where only two displayed items could definitely be attributed to women.

Ideally, future exhibitions would aim for similar numbers, or work towards promoting other under-represented and marginalised groups. However, we will always be restrained by the collections we hold – we can’t show material that we don’t have. What we can do is continue to look for the people in our collections who have always been ‘hidden’ – the unnamed, the ignored, the notes scribbled in the margins – and work towards making them more visible.

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‘Dangers and Delusions’?: Perspectives on the women’s suffrage movement is open in UCL’s Main Library until December 14. More events exploring women’s suffrage and the women of UCL can be found at UCL Vote 100. Finally, in the newest edition of The World of UCL, published this month and freely available online, Dr Georgina Brewis has added much new material on the role of women at UCL – a long overdue revision.

Last week saw the launch of a new UCL Special Collections display outside the Donaldson Reading Room entrance on the 1st floor of the Main Library. Dante’s Divine Comedy: Modern Visual Representations features a selection of printed materials inspired by the great medieval Italian poet’s literary masterpiece. Produced over 700 years ago, the Divine Comedy is still celebrated today for its incredible imagery of the afterlife. The twentieth-century publications chosen for the display contain their own distinctive illustrative depictions of Hell, Purgatory, and Paradise, but are united in the way they seek to capture elements of Dante’s extraordinary imagination. The display is scheduled to run until Tuesday 26th June.

Running alongside this display and throughout the summer term are two public programmes dedicated to Dante. Weekly readings of the Divine Comedy take place on Monday evenings at the Warburg Institute, Woburn Square (6:00 – 7:30 pm), while talks about Dante, his life and works take place on alternate Tuesday evenings at the Italian Cultural Institute, Belgrave Square (7:00-8:30 pm). Both programmes are free and open to all. On Tuesday 29th May, UCL Special Collections will be at the Italian Cultural Institute to present a selection of highlights from the Dante Collection from 18:00-19:15 pm. In addition, Tabitha Tuckett (Rare-Books Librarian) will be providing expert insights on the Collection in a public talk at 18:30 pm. We hope to see you there.

If you wish to consult materials held by UCL Special Collections, please send enquiries to the following email address: spec.coll@ucl.ac.uk

First Stop; Stratford Library

UCL Special Collections have been busy putting together an exhibition that combines items from the Main Library exhibition East Side Stories and Newham Borough’s own archival items.

This ‘pop-up’ exhibition features historic photographs, archival documents, maps and rare publications that tell of East London’s rich and fascinating past.  As the banners tour all of Newham’s 10 public libraries, we’ll be running a range of different workshops to deepen engagement and to create opportunities to record local people’s oral histories.  Many of these activities will take place in Newham Heritage Week.

Poetry from the Archive

We’ve kicked things off with three poetry workshops in Stratford and East Ham libraries.  These groups are already well established and participants enjoy writing poetry in an inclusive and positive environment. They were keen to engage with the forthcoming exhibition and the archival items we brought to them.  Poems ranged from sombre, thoughtful pieces about racial tensions and migration, to playful tales of the quintessential cup of tea at a Newham street party in the 1920s.

London Memory Archive and UCL East

The oral histories we record will be the beginning of a new initiative, the London Memory Archive, which will be part of UCL East’s Culture Lab.  It’s a timely opportunity to start developing a collection that reflects the memories and perspectives of a local community that UCL will soon be neighbour to.

Successful Funding Bids

To support the project, and to help lay the foundations for a longer term relationship with Newham and its library and archive services, we’ve sought external funding.  We are pleased to announce that we have been successful in a UCL Culture Beacon Bursary grant and a Heritage Lottery Fund grant.  This means that we are able to buy the equipment needed to make archival quality recordings, receive specialist oral history training, pay for the printing of the exhibition and promotional material and all workshop resources, as well as support volunteers’ involvement throughout.

We hope that we will be able to collaborate with Newham in further touring exhibitions that make use of the research and digitisation that takes place for the Main Library exhibition and also gives us a chance to bring a different edge to the narrative told.  Newham has an incredible collection of historic photographs, for example, which often bring the content of an item from UCL’s collection to life.

Be sure to check back for further updates and photographs of Special Collection’s outreach work!