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Announcing the winners of the 2021 Anthony Davis Book Collecting Prize

Erika Delbecque28 June 2021

French translations of Beatrix Potter, English testimonies to the Holocaust and women of the South Asian Diaspora – these were just some of the collecting themes amongst the applications for this year’s Anthony Davis Book Collecting Prize, which is open to all students at London-based universities. The prize, which is generously funded by Anthony Davis, aims to encourage collectors who are at an early stage of collecting books, printed materials or manuscripts.

Because the standard of applications was particularly high this year, the panel made the exceptional decision to award two prizes.

The winners

Books from Daniel Haynes’ winning collection

This year’s winner is Daniel Haynes for his collection ‘The money earned by herself’: women artists of the Roycroft Press. This printing house was founded by Elbert Hubbart in New York State in 1895. It became the most influential Arts and Crafts press in America and a commercial success. Following the trend to revive 15th-century printing techniques and skills started by William Morris’ Kelmscott Press, the Roycroft Press produced books that were hand-printed and illuminated. Daniel’s collection focuses on books that contain evidence of women illuminators, highlighting the contributions made by artists whose role has often been overlooked. Daniel, who is a studying for an MA in Library & Information Studies at UCL, will receive a cash prize and the opportunity to work with a member of staff to select a new item for UCL Special Collections. He will also be entered into the national book collecting competition that is organised by the Antiquarian Booksellers’ Association.

The runner-up winner is Erick Jackaman with their collection Read My Genders: A Trans for Trans Collection. They collect a wide range of contemporary material that is published by trans people for trans people, including self-published novels, zines and leaflets. Erick is currently studying for an MSc in Digital Humanities at UCL.

Pink spines on a book shelf

The pink spines in Erick’s collection

“The whole experience of applying for the Anthony Davis Book Collecting Prize has been such a joy for me”, they said. “When I started writing my application back in March, it didn’t occur to me how valuable the application process itself would be or how much I would learn throughout. Speaking [to the panel] filled me with a sense of wonder for the potential of my collection.” Erick will also receive a cash prize and the opportunity to select a new item for UCL Special Collections.

The other finalists were:

  • Humphrey Price for his collection of works by Clare Leighton
  • Howard Kordansky for his collection of books and pamphlets on the role of the German Jewry in the First World War
  • Jemma Stewart for her collection of floriography or the language of flowers

See the finalists present their collections online

Join us for special sessions of the 2021 UCL Rare Books Club Online to hear some of the finalists speak about their collections and show some of the items. These lunchtime sessions are free to attend and open to all.

 

Anthony Davis Book Collecting Prize: Collecting with Intention

Sarah S Pipkin12 April 2021

The Anthony Davis Book Collecting Prize is an opportunity to celebrate student collectors and the diverse collections they build and nurture. Last year we wrote about how you can be a student book collector without even realising it. But what is the difference between a book collector and someone who just owns a lot of books? For us, and the judges on the Book Collecting Prize panel, the difference is collecting with intention.

What is Collecting with Intention?

Collecting anything is about building a collection of material around a common theme for a specific purpose. You could be collecting because you really love the subject, author or artist. Or it might be about raising awareness or preserving a history you believe is important. But it becomes a ‘collection’ when it forms a cohesive whole. Think of books or items that if you would give away as a unit rather than one item at a time.

The intention behind your collection can be academic or it can just be something that you are passionate about. Some of last year’s finalists collected in areas that overlapped with their studies, while the 2020 winner submitted a collection of books she had since her childhood. You can also submit material such as letters, postcards, and comic books.

It’s all well and good talking about this in the abstract, but what exactly does an intentional collection look like? Let’s look at some examples:

Vicky’s Collection of Music for the French Horn

Potential Collection Title: Milestones for a Music Student

Vicky, our Head of Outreach, has a collection of sheet music for the French horn. Her sheet music cover different milestones of a student’s journey to learning how to play the instrument. The music was primarily bought when she was learning the instrument herself as a child. None of the music in the collection are particularly rare, but some of them are now out of print.

Selected items from Vicky's music collection

Selection of sheet music from Vicky’s French Horn collection.

When Vicky started the collection, it was music that she needed to proceed to the next milestone of learning music. It wasn’t really a collection at the time – it was just the assigned sheet music for learning the French horn. However, over time she filled her books with annotations that documents her journey as a musician. This includes names of music teachers, recitals and more. They now serve as a history of her progress as a music student. Once she finished her studies, she kept the collection as a single unit. They have a certain amount of sentimental value – they represent the journey she took when learning the French Horn and remind her of the teachers and concerts that helped her along that journey. But it also represents what the musical journey of most French horn players – the music pieces that she has are very popular amongst people learning the French Horn and become more technically difficult over time. If she was to give the collection away, she’d give it to a music student at the beginning of their learning journey as, in theory, they then wouldn’t need to buy another piece of music until they finish their studies. But it’s also a collection that’s still in use. Vicky returns to old music to practice her skills and finds that the music she learned years ago is still challenging for different reasons. Why she isn’t actively adding to the collection, it serves as a physical representation of a learning journey.

Notations inside music book

Notations inside of one of Vicky’s music books.

What does this mean for you, a potential applicant to the Anthony Davis Book Prize? Books that you may have purchased over the course of learning something new, but then changed in significance to you overtime, may be a great thing to submit to the Book Prize. When looking at your collection, try asking yourself the following questions:

  • What does this collection represent to you?
  • What about it tells a story that I think is important?
  • What about my relationship to these items has changed that makes me think of them as a cohesive whole?

Sarah’s collection of modern science fiction and fantasy written by women

Potential Collection Title: Imagined Feminist Futures

I collect science fiction and fantasy novels written by women. These are primarily books published in the past five years, but I am also actively seeking earlier works. A few years ago I realised that despite the fact that I love the science fiction and fantasy genre, almost all of the authors I’ve read were men and the authors I had on my shelves were entirely men. So, I decided to change that by intentionally reading and buying science fiction and fantasy books authored by women. It started out as just a reading project – I read primarily library books or ebooks. But as I realised how many authors I had been ignoring, my purchasing patterns started changing as well. The moment I started seeing it as an intentional collection was when I bought a special edition of the collected Binti novellas – a series of novellas that had initially been published online but were re-issued in a physical format.

Selection of books from Sarah's collection

Selection of books from Sarah’s science fiction and fantasy collection.

As my collection has grown, it has become a reference library for suggesting authors to friends who are also looking at expanding the authors they read. It now serves as a reference library for myself and other people in my social circle. I also am more likely to buy a book by an author that I haven’t read if I believe it will fill a gap in my collection. While my collection is also dependant on the books I enjoy – part of it has been regifted to friends when I didn’t enjoy the story – there is a core set of books that I would be very reluctant to part with and serve as a representation of women’s contributions to the genre.

Book cover of Binit Collected Novellas

Binti: The Complete Trilogy. While tracking down this edition, I started to see my books as a collection.

If you, like me, started a collection to fill a knowledge gap or encourage better buying habits, these questions might help you think a bit more deeply about your own collection:

  • Why do you buy the books you buy (beyond them being required reading)?
  • Why do you buy particular editions?
  • What have you learned from building your collection?

Final Thoughts

Even though Vicky and I both collect printed material, your collection doesn’t have to be limited to printed books or sheet music. Instead, it can be a collection of letters or diaries, postcards or greeting cards. The items you collect do not have to be old or historically valuable – modern material is welcome. What we want to see in applications to the Anthony Davis Book Prize is intention and purpose. If you can tell us why these items serve as a cohesive whole and the story they tell, then you’ll be the ideal applicant to the Book Prize.

 

We are now accepting applications for the 2021 Anthony Davis Book Prize! The prize is open to all students at a London based university and applications close on 30 April 2021. For more information, visit our main page for the Anthony Davis Book Prize.

The Anthony Davis Book Collecting Prize is now open for applications

Erika Delbecque9 February 2021

Calling all budding book collectors studying at London universities! Would you like to win a £600 cash prize to grow your collection, a chance to present your collection to an international online audience and the opportunity to work with library and archive staff to select an item for UCL Special Collections? The 2021 Anthony Davis Book Collecting Prize is now open for applications.A student studying an item from UCL Special Collections

To many, the term book collection conjures up the image of shelves groaning under the weight of century-old leather-bound volumes, but that is not what this prize requires. The size, age and the financial value of your collection are irrelevant, because we expect these collections to be embryonic. Queer comics, debut Chinese poetry, books by Black British publishers, post-war architectural books, and Slovakian Beat poetry; this selection of themes from the shortlist for last year’s Prize gives a flavour of the broad spectrum that the Prize covers.

Your collection should consist of at least eight printed and/or manuscript items that reflect a common theme. It’s worth noting that despite its name, the Anthony Davis Book Collecting Prize is not only restricted to books – other paper items such as collections of sheet music, manuscripts, magazines, booklets, and other ephemera are all admissible for the Prize. For more inspiration, have a look at our blog post explaining how you can put a collection together.

To apply, you need to submit an essay of not more than 500 words explaining the coherence and interest of your collection and why and how it was assembled, a list of items in the collection, and a list of five items that you would like to add to their collection. You can find full details and an application form here. The deadline for applications is 30th of April 2021. Good luck!

The New Curators Project is Open for Applications!

Vicky A Price18 January 2021

The New Curators Project is a new programme by UCL Special Collections and Newham Heritage Month. It will offer 10 young people in East London the chance to develop the skills and experience needed to start a career in the cultural heritage sector.

 

UPDATE: The application deadline has been EXTENDED to midnight on 5th March 2021.  If you’d still like to apply, please do!

 

What will the project entail?

Successful applicants will receive training from industry experts in key areas such as carrying out historical research, creating an exhibition and engaging with cultural heritage audiences. Participants will also work together to create an exhibition for Newham Heritage Month. Using historical material from UCL Special Collections and the Archives and Local Studies Library in Stratford, the exhibition will be an opportunity for participants to gain real life curation experience for a public heritage festival audience.

We expect the entire project to take place online, with the possibility of face to face sessions towards the end of the project (this will depend on national and local restrictions.  Any face to face activity that does take place with be compliant with government guidelines).

Who can apply?

Applications are open to people who:

  • Are aged 18 to 24 at the time of making their application.
  • Are living, studying or working in Newham, Hackney, Tower Hamlets and Waltham Forest.
  • Are not a university graduate.
  • Have less than 6 months paid experience in the cultural heritage sector.

As this project is a part of Newham Heritage Month, there are 5 places available to individuals who live, work or study in the borough of Newham. The remaining 5 places are available to those who live, work or study in Tower Hamlets, Hackney or Waltham Forest.

When is it happening?

Application close midnight on 12th February 2021.  There will be two online sessions per week, the first will be during the week of 1st March 2021 (date and time to be agreed with participants).  The final week of activity will be the week of 24th May 2021.

What’s in it for me?

We will be providing training in essential skills for working in the cultural heritage field, including:

  • How to carry out historical research.
  • How to use an archive.
  • How to create an exhibition.
  • Presentation and public speaking skills.

We are also offering a £200 bursary, paid in instalments, to support participants in attending as many of the workshops as possible.

Do I need to have any specific A Levels or GCSEs?

Absolutely not. We want to recruit participants who have a passion for local history, regardless of their qualifications.

What is Cultural Heritage?

The cultural heritage field is an area of work focused on preserving history and culture and making it available to the general public. Among other things, it includes:

  • Museums.
  • Arts organisations and charities.
  • Libraries and Archives.
  • Historic Buildings and heritage sites.
  • Archaeology.
  • Conservation.

How do I apply?

You can apply online via our online form. If you have difficulty using the form, please send us an email and we can find an alternative way for you to apply.

The due date for the application has been extended to midnight on 5th March 2021.  We aim to reply to applicants by 5pm on 8th March 2021.

A student looks for resources in a library. Shelves laden with colourful books line the edges of the photograph as she reads a book.

Among other skills, The New Curators Project will train participants in carrying out research, creating exhibitions and public speaking.

Questions?

You can send us an email at: library.spec.coll.ed@ucl.ac.uk.
Or, if you’d prefer to give us a call, you can call Vicky Price, Head of Outreach, on 07741671329.

If you think this project is a good fit for you, apply now!

The Foundation for Future London logo The logo for Newham Heritage Month

Women of The Institute of Education

utnvwom15 January 2021

To start, I feel this post needs a disclaimer – there is no way I can cover all the inspiring women who have played important roles in the life of the Institute of Education. These are just snapshots, hopefully they will inspire people to look further and read more about these women. I have put them in order of date of birth, in an effort to equalise any hierarchy of perceived significance.

Explanation of abbreviations;

  • LDTC – London Day Training College, the name of the IOE on its founding in 1902
  • IOE – Institute of Education, the name adopted in 1932

Margaret Punnett (1867-1946)

Photograph of staff register page

Margaret Punnett’s staff registration page

As Mistress of Method and later Vice Principal at the LDTC, she was responsible for organising and overseeing the teaching of the women students, and had overall responsibility for the teaching of maths, to which scripture and psychology were later added. She lectured also on the Principles of Education.

For many years she carried the main burden of administration, and also took a personal interest in students and their welfare.  When she retired the responsibilities of her post were divided, perhaps demonstrating how much work Punnett carried. It is interesting to note that, at a time when women’s salaries were generally lower than those of men with the same level of responsibility her salary on appointment, and subsequently, often equalled that of her male colleagues’.

Clotilde Rosalie Regina Von Wyss (1871-1938)

Copy of von Wyss' article

Article by Clotilde von Wyss, IE/12/3/1

Clotilde von Wyss was a pioneer of educational broadcasting and film.  Her teaching at the LDTC was enriched by her introduction of collections of plants, an aquarium, artists’ materials and animal photographs. In an article Nature Study for Fidgety Children in the Londinian, the Student Union magazine (Summer 1909), von Wyss expressed her belief in practical manual work as an outlet for children’s natural energy; one example was the creation of gardens in boxes brought in and painted by the pupils. She offered two separate courses in biology at the LDTC, for specialists and non-specialists and, in the 1930s, a special voluntary course for the colonial group.  In addition to her work at the college she taught on a voluntary basis at Wormwood Scrubs prison. In retirement she acted as adviser to producers of a film on Wood Ants.

Susan (nee Fairhurst) Isaacs (1885-1948)

Susan Isaacs was an influential child psychologist, her primary interest being in child development. She had had a varied career before joining the Institute of Education, including several years as Head of an experimental school in Cambridge, and was an advocate of nursery education.

Photograph of Susan Isaacs

Susan Isaacs

At the Institute of Education she was the first Head of the new Department of Child Development. The Department grew rapidly, her work and reputation bringing prestige to the Institute. When the Institute was evacuated to Nottingham in 1939, and the department temporarily closed, Isaacs led the Cambridge Evacuation Survey.  Illness prevented her from returning as Head of Department when the Institute moved back to London in 1943 and she was succeeded by one of her earliest students, Dorothy Gardner.

Between 1929 and 1940 Isaacs, under the pseudonym Ursula Wise, was an “agony aunt” replying to readers’ problems in child care journals. She also had her own practice as a psychoanalyst, which she maintained while working at the Institute. Isaacs was awarded the CBE in 1948.

Grace Mary Wacey (1894-1987)

During her 38 years at the LDTC/IOE Grace Wacey saw it grow from a small college chiefly engaged in preparing students to teach in London schools, to a major academic institution with an international reputation.  The changes were reflected in the scope and responsibility of her own post: starting off as the only full time member of administrative staff, by the time of her retirement the complement was about 50, over which she, as Secretary, presided.

Photograph of Grace Wacey holding a book

Grace Wacey

Grace Wacey was remembered as an approachable, kindly yet firm administrator – so much so that in 1984 the IOE organised a party to celebrate her 90th birthday. In 1953 she was awarded the MBE in the Coronation Honours.

Margaret Gladys Calthrop (1886-?)

At the LDTC/IOE Margaret Calthrop taught French and German, lectured in methods of teaching Modern Languages and supervised student teachers’ school practice.  She was one of a number of subject tutors who sought to make learning her subject more interesting to children, incurring some opposition from those who wondered whether the essentials of grammar were receiving sufficient attention. Her demonstration lessons attracted a good deal of attention, one on a La Fontaine fable drawing applause from children and students.

In the mid-1930s she suffered health problems.  Restored to health she continued to work until she reached retirement age in 1952; she was then offered the possibility of remaining on for a time, but decided not to accept.

Margaret Helen Read (1889-1991)

Margaret Read joined the Colonial Department after five years engaged in missionary social work in India. She had carried out research in anthropology at LSE, and been awarded a doctorate.  She took charge of the department during the war years and became Head in 1945.

Photograph of Colonial Department class

Margaret Read, front row, centre. Class photograph 1946/7

She was a pioneer in applying social anthropology to issues in the developing world, with a particular interest being the nature of cultural change affecting families and individuals who, having for generations practised agriculture in villages, had become part of the industrial proletariat. She thought that education in colonial territories should not be simply in basic skills, but also in citizenship and social relations, taking account of cultural traditions, and she stressed the need for adequate histories of education in each territory, to provide an objective description of what had happened since the earliest European contacts.

Read was a member of, and advisor to, various governmental, and world-wide organisations. In 1948 she was awarded the CBE for work in connection with colonial education.

Marion Elaine Richardson (1892-1946)

As art mistress at Dudley High School Marion Richardson started to develop a child-centred approach to art education, encouraging pupils to use memory and visual imagination in creating art works. At the LDTC she established a specialist course for students training to teach art. She was one of several subject tutors who challenged the prevailing methods of teaching in schools. In addition to her work in schools and the LDTC, Marion Richardson taught classes in Winson Green and  Holloway prisons.

Her ideas about child centred art education gained international recognition, while her book Writing and Writing Patterns remained in use in schools for some 50 years. A London school, Senrab Street in Stepney, has been renamed Marion Richardson School in her memory.

Sophia Weitzman (1896-1965)

Weitzman had progressive ideas on methods of teaching history and on the contents of the school curriculum which, she felt, had traditionally been overly concerned with political and constitutional matters.  She believed in working from the realities of children’s lives, and saw the value of visits in arousing their interest in history. Weitzman also considered that school should no longer be a forcing house for knowledge, but should prepare children for social living, encouraging initiative and independence.

Her lectures to students on teaching methods spelled out ways in which historical content might be communicated through the medium of active interest, including modelling, drawing, talking, writing and acting of historical plays, historical excursions, films and radio talks.

Like many of her colleagues at the Institute, Weitzman was interested in the educational systems of other countries, and in her later years she devoted much time to work with students who studied Indian education.

Geraldine Susan Maud de Montmorency (1900-1993)

Geraldine de Montmorency’s appointment as the first Librarian of the LDTC was on a part time basis. Realising the restrictions of this, with the help of students from UCL’s School of Librarianship, she worked on cataloguing and on a classification scheme within the subjects. Additions to the stock came from donations of books and material, as well as purchases.

Over the years de Montmorency increased the number of days she spent at the Institute, in 1940 her post was made full time. Both before and after the second world war specialist collections were developed, e.g. in the fields of colonial education, child development, comparative education and English as a foreign language. Although the marriage bar had been lifted some years earlier, the expectation that women could not cope with working and managing home life prevailed, and de Montmorency retired her post at the IOE upon marriage in 1957. By the time Geraldine de Montmorency resigned her post, the Institute Library had grown massively, with a stock over 50,000 volumes, and had achieved an international reputation.

Dorothy Ellen Marion Gardner (1900-1972)

Dorothy Gardner trained as a Froebel teacher, then worked with young children in a variety of settings and as a trainer of teachers and nursery nurses before becoming a part time student on the new advanced Child Development course at the IOE, while lecturing at Bishop Otter College.  As a student she greatly admired Susan Isaacs, the first Head of the new Department of Child Development, and in due course succeeded her.

Gardner became head of the Department of Child Development in 1943. When teaching – which included a course on the needs of young children in war time – resumed in January 1944 it had to take place in the evenings because teachers were unable to get paid leave. In 1948 Gardner established a research centre at Coram Fields: one of its projects, conducted jointly with the Institute of Child Health, was a long term study of local children.

Gardner played an important part in shaping the development of child centred education.   A highly regarded community nursery centre in West London, catering for 100 children, bears her name.

A number of these women recount their experiences in the volume Studies and Impressions, 1902-1952 Harrison, A. S., and University of London.  [edited by A. S. Harrison … Et Al.]. London: Evans Brothers for the U of London Institute of Education, 1952. Print. https://ucl-new-primo.hosted.exlibrisgroup.com/permalink/f/5qfvbu/UCL_LMS_DS21167882720004761

Further biographical information has been collated from the Institute archives. Extended profiles of most of these women are available on request from the IOE archives ioe.arch-enquiries@ucl.ac.uk

If you have any ideas of who could be included in this list, and why they should be here, please add them in the comments.