Black History Month at the ERO: Part 2

In the second post focusing on Black histories at the Essex Record Office, we’ll explore some of the audio recordings preserved in the Essex Sound and Video Archive (ESVA). Including broadcasts on local radio, spoken-word poetry, and oral histories, these recordings give us an insight into the experiences of a diverse range of Black people in Essex over the past 75 years, right up until the present day.

You can explore the Black History Month display and listen to more clips in our Searchroom – check our website for opening hours.

Unfortunately, the earliest recording in the ESVA relating to Black history – a race relations meeting held at St Martin’s Church, Basildon, in December 1968 –  is very poor quality, largely due to the acoustics of the venue (SA 20/2/37/1). More audible recordings can be found in the archive of BBC Essex, which broadcast events, discussions, and features across the county from 1986. While there were no programmes produced specifically for Black or ethnic minority audiences (as there were on other local radio stations outside Essex), the archive does include some recordings that help us to understand the experiences of the Black community during this period.

The clip below is from a radio programme about the work of Thurrock Community Relations Council, broadcast in 1988. The council aimed to “promote harmony, eliminate racial and cultural discrimination, and promote equal opportunities” in the area, and included representatives from the local Sikh, Vietnamese, and African-Caribbean communities. The speaker in the clip is Diana Wall, who had moved to the UK from Guyana in the 1960s and was working as a midwife in Grays.

“The older people accept me as a person in my field of work, but the younger generation sometimes do cause a little bit of a problem.”

Diana Wall talks about her experience of racism in Grays on BBC Essex, 1988 (SA 1/240/1). Read a transcript here.

Voices from Black communities across Essex continue to be recorded for broadcast today, both by BBC Essex and organisations like the Essex Cultural Diversity Project (ECDP), which launched ECDP Radio in 2021. In episode below, presenter Nita Jhummu talks to Sangita Mittra, Wrenay Raphael and Carlos Byles from the New Generation Development Agency, about Black History Month in Chelmsford (SA 74/2/7/1):

Other contemporary reflections on issues of identity and place have been commissioned by Focal Point Gallery in Southend-on-Sea for FPG Sounds, an online project supporting the development of new sound works by artists from or based in Southend, now archived in the ESVA (SA912). Amongst the fifteen commissions are several spoken-word pieces by Carrissa Baxter and The Repeat Beat Poet (Peter deGraft-Johnson), exploring Black British history and their own experiences.

The Repeat Beat Poet’s poem ‘One Black Lotus’, inspired by the eighteenth century Jamaican-Scottish radical and union activist William Davidson.

Over the last fifteen years, museums, arts organisations, and artists have also recorded the stories of people who moved to Essex from the Caribbean in the 1950s and 1960s, as well as more recent experiences of those with African or Caribbean heritage.

Oral histories are some of the most powerful records of recent Black history in Essex. As historians have shown, the fact that the personal experiences of people of African descent in Britain have not generally been recorded – as we found in the first blog post – has contributed to their historical erasure. In contrast, oral histories give people the opportunity to share their stories in their own words. Quoting from the 1991 Julie Dash film, Daughters of the Dust, Dr Meleisa Ono-George has emphasised that “there is power in the knowing, but there is also power in the telling”. As the artist Everton Wright (EVEWRIGHT) describes in the clip below, the richness and complexity of these stories also provides a foundation for future generations to listen to and learn from.

The artist EVEWRIGHT speaking on ECDP Radio, 2021 (SA 74/2/5/1). Read a transcript here.

In 2008, staff at Hollytrees Museum in Colchester recorded oral histories with nurses who came to work for the NHS from around the Commonwealth, including the Caribbean, for the exhibition ‘Empire of Care’. In the recordings, the interviewees talk about their memories of arriving in Essex, training to be nurses, living in Colchester during the late 1950s and 1960s, and their careers since.

Looking back over their lives, they also reflect on their achievements and the challenges they faced. In the clip below, Shirla Philogene (née Allen) describes her experience of ‘colour prejudice’ during her nursing training in Colchester. Shirla grew up in St Vincent & the Grenadines and started her training in Colchester in 1959. She received an OBE for her services to nursing leadership and development in 2000 and published a book about her experiences, Between Two Worlds, in 2008.

Shirla Philogene describes her experience of prejudice during her nursing training (VA 77/1/5/1). Read a transcript here. To listen to the full interview, please get in touch.

Another interview with Shirla is preserved in the Royal College of Nursing archive (T/374), and you can hear more clips from the interviews with Shirla, Ester Jankey, and Rosie Bobby in this blog post about the collection.

Picture of the redecorated Caribbean Cafe in Colchester
Detail of art installation at S&S Caribbean Café, 2018. Image: EVEWRIGHT.

Between 2017 and 2018, EVEWRIGHT and Evewright Arts Foundation recorded thirteen oral histories with Caribbean elders across Essex. Ten-minute excerpts from the interviews were played as part of the Caribbean Takeaway Takeover exhibition at the S&S Caribbean Café in Colchester on the weekend of the 70th anniversary of the arrival of the Empire Windrush at Tilbury. As with the ‘Empire of Care’ recordings, many of those interviewed describe their journeys to the UK from the Caribbean. One interviewee, Alford Gardner, travelled from Jamaica on the Windrush itself:

” When we came here, reach Tilbury, there were two Calypsonians from Trinidad and any part of the boat you walk on I mean, some little ting, ting ting, ting, ting t-ting-ting. Anything that moved on the boat, a song was made up about it!”

Alford Gardner speaking to Ionie Richards and Everton Wright in 2018 (SA 69/1/3/1)

Importantly, the oral histories record the many different experiences of the pioneers now known as the ‘Windrush generation’, and their lives in the UK beyond the point of arrival. In this clip, Alton Watkins, who passed away in May this year, reflects on his contribution to British society as a teacher and England being his home.

Alton Watkins reflects on his life in England (SA 69/1/8/1). Read a transcript here.
Tilbury Bridge Walkway of Memories installation by EVEWRIGHT. Image: John Ferguson.

In 2020, EVEWRIGHT created a new installation in a passenger walkway at the Port of Tilbury. The 432 panes of glass along the walkway are collaged with photographs, passports, documents, boat passenger tickets and memorabilia. There is also a series of sound windows, where visitors can listen to some of the audio stories recorded for the Caribbean Takeaway Takeover installation, as well as new interviews recorded by Evewright Arts Foundation and donated by members of the public across the UK. The clip below is from an interview with Freda Seaton, where she describes moving to the UK from Jamaica in 1957.

Freda Seaton talking to Nadine Persaud in August 2020 (SA 69/2/10/1). Read a transcript here.

This series of recordings was deposited in the ESVA earlier this year. Thanks to the generosity of the participants, we are delighted to be able to share them on our catalogue, Essex Archives Online, and our Soundcloud channel. You can also pick up a legacy publication about the installation in our Searchroom.

Installation view, Black Girl Essex, Firstsite. Image: Ollie Harrop.

Another collection of recordings recently deposited in the ESVA is a series of four conversations recorded by the artist Elsa James in 2019 for ‘Black Girl Essex’, a project carried out during her four month residency for Super Black, an Arts Council Collection National Partners Programme exhibition at Firstsite in Colchester (SA 78/1).

The thirteen participants in the conversations represent the diversity of the Black community in Essex in the twenty-first century. They varied in age, from 13 to 74, and while some moved to Essex as children, or later on in life, others were born and brought up in the county. This diversity is reflected in the recordings, as they discuss their perceptions of Essex, whether the Essex stereotype resonates with them, and their experiences of being othered.

One of the participants was the actor and director Josephine Melville, who sadly died on 20 October. Jo set up the South Essex African Caribbean Association (SEACA) in 2012 and was passionate about bringing communities together to celebrate their culture and heritage. As well as the interview with Elsa James, Jo was also involved with EVEWRIGHT’s Tilbury Bridge Walkway of Memories project, to which she contributed a recording of her parents’ experience of moving to Britain from Jamaica, and a conversation with her mother, Byrel.

In this excerpt from her conversation with Elsa, she reflects on the importance of recording and preserving Black histories in Essex.

“Moments need to be logged and treasured, so that we don’t get lost, and that our history and our presence in this area are not just told by other people, they’re told by us.”

Josephine Melville speaking to Elsa James, September 2019

Tomorrow Started Yesterday

The future is in our past - Transmitting valve

Hello Traveller

You’ve just clicked on a bit of history from right here in the City of Chelmsford.

Many people know Chelmsford is the birthplace of radio, it’s where Marconi chose to build his first factory and where ideas and experiments unfolded across the years, but it’s so much more than that, it’s where our future world of communication began.

Over a hundred years before Bill Gates and Steve Jobs, Marconi was laying down the foundations of the communication explosion of the 21st century. One of the first truly global figures in modern 

Tomorrow started yesterday - receiver unit

communication, he was the first inventor to not only communicate globally but think globally about communication.

From telegraph to telephone and radio to the world wide web, mobile phones and satelitte navigation, the link between then, now and the future is the development of wireless communication.

Essex Record Office continues to capture and preserve our local histories with written material, historical documents, recordings and interviews. The Essex Record Office is also home to a collection of over 150,000 images that catalogue the places, people, objects and machinery of the Marconi Company. 

Artist, Elaine Tribley, was given access to this collection as part of an Essex 2020 Artist in Residence project with the ERO. Focusing on the photographed objects she produced a series of artworks enlarging and placing them into the landscapes around the Records Office 

adding reflective texts. Elaine says “I not only wanted to bring these objects to our attention, challenging their place, Marconi’s place in our future, but I also wanted to celebrate the fact that this incredible collection of photographic history is right here in our own City”.  Two of these works were chosen to be displayed at Chelmsford’s rail station to coincide with the British Science Festival being held in the City.  

To find out more about the work of the Essex Records Office visit : www.essexrecordoffice.co.uk

The Essex Record Office is based at Wharf Road, Chelmsford, Essex CM2 6YT

A PDF version of this post is available to download below.

Communicating Connections

Are you interested in local history? Maybe you know someone who worked for the Marconi Company? Communicating Connections have a unique opportunity for you to get directly involved in the collection of some of Chelmsford’s most well-known history. Find out more about how to get involved in this exciting project as a Volunteer Oral History Interviewer below.

An early mobile broadcasting tower

‘Communicating Connections’ is an oral history-based community heritage project funded by the National Lottery Heritage Fund, with contributions from Essex 2020 and the Friends of Historic Essex. It will explore the heritage of the Marconi Company, one of the most famous telecommunications and engineering companies in the world, based in Chelmsford. We will collect and archive oral history interviews with past employees of the company which will then inform an exhibition and a heritage trail app. Chelmsford is known locally as the ‘birthplace of radio’, so we want to share this heritage with the local and wider community.

We’re looking for 6 volunteer oral history interviewers to conduct 30 interviews in total with veterans of the Marconi Company. Full training in oral history interviewing will be provided by the Oral History Society and further support will be available throughout the project so there’s no need for prior oral history or interviewing experience.

The winding shop

We anticipate that interviewing will begin in November 2020, but please note this may change due to the ongoing Covid-19 pandemic and government guidelines. All activities and interviews will be risk assessed and Covid-19 procedures will be in place.

More information can be found in the volunteer recruitment pack here.

Please direct any questions to the Project Co-ordinator, Laura Owen at communicatingconnections@gmail.com 

The Reach of The Marconi Photographic Section

Lewis Smith, the Essex Record Office’s Engagement Fellow, takes a look at some of the things in the Marconi Photographic Section’s archive.

Founded by Guigielmo Marconi in 1897, the Marconi Company (which held various names over its lifetime) were pioneers in wireless technology. Famously based in Chelmsford (regulars in the area will draw attention to places like ‘Marconi Road’ and ‘Navigation Road’), his technologies helped to shape the world we live in today: so much of our lives are a result of their research, from radio to navigation, from aeronautics to maritime, from communications continent to continent.


A11449 – 16748 MARCONI CO. TRADE MARK OR LOGO, 1947.

One part of the most interesting parts of the Marconi Company’s history was the Marconi Photographic Section, whom took hundreds of pictures over the organisation’s lifetime. These records are now stored at the Essex Record Office in Chelmsford. Unfortunately, this collection remains largely underused – so the British Society for the History of Science and Essex Record Office tasked me to spend some time scoping out the Marconi Photographic Section’s archive, working out what kind of images are within and, perhaps most importantly, work out how they can be used. Whilst I have only been in the archive for a relatively short period of time (since the beginning of October), there are some very interesting historical angles in desperate need of further research – from business to imperial history, from labour to marketing history.


A11449 – 78774, MAP OF NADGE RADAR CHAIN, 1968

One thing to note is that there are a lot of pictures of non-descript machines and circuitry – fans of the history of electronic engineering need look no further: historians of oscilloscopes, transmitters and receivers, power supplies, RADAR arrays, and pretty much all kinds of specialist electronic engineering will find something of interest here. These images present an extensive product history of Marconi’s inventions and patents. Perhaps more generally appealing, there is a lot for those interested in maritime and aeronautical history: one of the key ideas that came about from wireless communication was the idea of wireless navigation, and Marconi fitted many different pieces of equipment to aircraft and ships to aid in their navigation around the globe.


A11449 – 15771, TYPE D.F.G.26 RECEIVER WITH OSCILLOSCOPE TYPE O.R.3, 1945

But the view of higher international politics, engineering and industry are only one side of the coin: the prevalence of this technical equipment masks ordinary life. The archive presents us with a rich social history of the worker and their working practices. Workers, many male and female, black and white, British and international, are presented in the factories assembling intricate circuits. To look at the ethnography behind the people in these pictures reveals the clear shifts, both natural and forcible, in middle and working class employment. Notice particularly with image 2015 – everyone is happy and content, giving the viewer the impression that everything was okay working for Marconi. It wasn’t always this sweet.


A11449 – 2015, GIRLS WINDING & LACQUERING SHOP AT WORKS, 1919

As this is evidently the photographic archive of a business, there is huge scope for a business historian. These photographs are frozen moments in time, specifically captured because they want to show a particular angle, person, product or scene – why one moment and not another? Why one person over another? Why one place over another? More specifically, there are multiple photographs of how the Marconi Company attempted to market itself in a world of innovation: some of the most interesting pictures are of the exhibits set up to advertise wireless communication at various exhibitions.


A11449 – 2464, MARCONI STAND, AERO EXHIBITION, OLYMPIA, 1920

What is most interesting about the archive is the company’s vast spread throughout the globe: as with any history of the twentieth century, Empire remains front and centre. Imperial conquerors can come and go as they please, but radio technology meant the constant connection between colony and coloniser. Furthermore, the concept of technological Imperialism remained hot in this period: teaching others how to use Marconi equipment orients them towards using that equipment for a long time, forcing the colony to ask for technical help from the coloniser. This relationship is observable in the photographic archives as Marconi equipment was placed in different colonies, greatly expanding the imperial nation’s reach.


A11449 – 3070, MAHARAJAH USING A MARCONI TELEPHONE IN INDIA, No date.

Art lovers may also find something worthwhile in the archives. There are photographs of many different artistic drawings by members of staff in the collection depicting a variety of different scenes. The collection features many talented artists, as well as plastic models of Marconi scenes and vehicles, models of scientific principles, and copious drawings. It is easy to fall into the trap of thinking that science and art are two separate unconnected topics, but the collection features some stunning images which clearly appeal to the art behind science.


A11449 – 14559, PAINTING ENTITLED “VOICE OF FREEDOM”, 1943.

This collection is for use in the Essex Record Office under Accession A11449 in over 100 individual boxes. This project hopes to eventually digitise and map these images to show the company’s reach. I have spent time electronically tagging the pictures with keywords: if you would be interested in looking at this spreadsheet or further discussing the project, do contact me at lcsmit@essex.ac.uk. Whether for research or for a casual perusal, this collection really has a lot to offer!

ERO’s Curiosity Cabinet: First World War albums of Nurse Kathleen Morley

In the first of our new Curiosity Cabinet series, Hannah Salisbury shares some of the fascinating things to be found in some recently accessioned First World War albums.

In a parlour there were three

A maid, a parlour lamp, and he

Two is company without a doubt

That’s why the parlour lamp went out

These rather cheeky lines were written by Gunner J. Frank of the Royal Garrison Artillery as he recuperated at Hylands House Hospital in Chelmsford, after being wounded at Ypres in August 1917.

This little trace of Gunner Frank is preserved in an autograph album which belonged to Kathleen May Morley who volunteered as a nurse and worked in several hospitals, including Hylands.

Three albums which were kept by Kathleen during the war years have recently been accessioned into our collections. Two are autograph albums filled with poems, drawings, and notes from men she nursed. The third is a photograph album, and includes pictures of Kathleen as a Voluntary Aid Detachment (VAD), her colleagues, and her patients.

Kathleen was from West Ham, and had grown up in a middle-class household, in a house opposite Ham Park. Her father was the Borough Surveyor for West Ham, and the 1901 and 1911 census returns show that the family had live-in servants. Kathleen was born in 1891, and would have been 23 when the First World War began. She volunteered as a nurse in 1915, and worked in military hospitals in Richmond, Lincoln, Wanstead, Woodford, and at Hylands House in Chelmsford.

Kathleen in her VAD uniform in 1915

The notes and sketches provide fascinating insights into hospital life and interactions between the patients and staff.

This cartoon, by Private George P. Clark of the King’s Own Yorkshire Light Infantry, shows a conversation between a patient and the Medical Officer:

Patient: And is the operation likely to be fatal, Sir?

M.O.: Dear me, man! – considering the Government is giving you this operation free, I consider your idle curiosity most unseemly!

Other poems escaped from hospital life altogether, such as this one by Signaller James Watt of the 13th Royal Scots:

I’d like to be a hairpin

To bind a lady’s hair

Among the transformations

And the pads I’d nestle there

But if I were a hairpin

In Mabel’s tresses black

You bet if I slipped down her neck

You’d never get me back

Not everyone, however, rated their literary talents; J.E. Watson left Kathleen ‘A few lines by a bashful poet’ when she was at Woodford Military Hospital in May 1915.

Others, however, were only too happy to share their poetic talents. This little verse was written by Private W. Harris of the 4th Battalion Grenadier Guards:

Thou shalt not covet they neighbour’s wife

His ass thou shalt not slaughter

But thank the Lord ‘tis not a sin

To covet thy neighbour’s daughter

Some of the soldiers who appear in the albums were very far from home. Signaller W. Cowlishaw of the 1st Canadian Artillery Brigade left this message for Kathleen on 15 June 1915 at Wanstead Park Military Hospital:

 I wish that I was able, just by your side to stand

And in the good old English way to shake you by the hand

But, as the sea’ll divide us, well, this I cannot do

So to prove that your [sic] remembered still

I’ll write these lines for you

Perhaps the cheekiest poem in the albums was by an Australian, Private C.V. Jordan from Melbourne, who describes himself as ‘the Chair King’:

Our eyes have met

Our lips not yet

But by jove kid

I’ll get you yet

There do not seem to be any American troops represented in the albums, but their influence is clear in this sketch by R.G. Beynon of the 16th Royal Fusiliers. One wounded soldier asks another “How did you get your packet mate?” “Learnin’ baseball orf the Yanks” replies his companion.

A great deal of affection and respect for Kathleen from her patients is evident throughout all three albums. F.E. Jenkins wrote this glowing review of her healing powers:

A good tip

When you’re feeling down & poorly

And you’re looking pasty white

Try my remedy – Nurse Morley

She’ll fix you up all right

Several of the patients who appear in the photograph album shared in Jenkins’s gratitude to Kathleen; this unusual bedside portrait is signed ‘Yours Gratefully H W Sheald’.

Altogether, the albums provide a fascinating record of life in the hospitals in which Kathleen worked throughout the war.

The two autograph albums and a small selection of pictures from the photo album will be on display in the ERO Searchroom throughout January and February 2019.

In search of the perfect Christmas present

What makes Christmas, Christmas? And how has this changed over the years?

Delving into some of the hundred-year-old newspapers we look after, we find some surprising things. Then, as now, newspapers were packed with adverts for food, drink, gifts, clothing, and even furniture which readers were encouraged to purchase for the festive season.

So what was being marketed to our ancestors as the perfect Christmas present? Before the days of music downloads and streaming, one ideal gift being advertised in Essex was a gramophone. Walker’s Music Warehouse in Clacton advertised their gramophones as ‘A most suitable and lasting present for the Festive Season’, and promised the machines would bring ‘to the home absolutely the very best vocalists and instrumentalists procurable’. Prices began at 34s (about £130 in today’s money), and went up to 12 Guineas (about £980 today).

Advert for gramophones from Walker’s Music Warehouse in Clacton from the Clacton Graphic, 16 December 1911

Large department stores offered a huge range of consumer goods, such as those advertised by J.R. Roberts in Stratford in the run up to Christmas 1911. For children, there were books and toys, such as dolls’ houses or toy trams. For ladies there were silk and lace blouses, fur wraps and muffs, handbags and wool and kid gloves. Men seem to have got the raw end of the deal, with only handkerchiefs being mentioned in this particular advert as gifts for men. Customers could order by post, and Roberts offered free delivery to any address within 20 miles of the shop or on orders of over 5 shillings.

Advert for Christmas presents at J.R. Roberts’ Stores in Stratford, Chelmsford Chronicle, 15 December 1911

If after a trip to Roberts you were still in doubt as to what to get for the lady in your life, J.G. Bond Ltd in Chelmsford had the perfect answer in the shape of ‘Baker’s Celebrated Chelmsford Lavender Water’.

Advert for Chelmsford lavender water, Chelmsford Chronicle, 15 December 1911

After presents had been chosen, what did shops suggest people might purchase to eat and drink over the festive season? The Clacton Stores on 22 Pier Avenue offered a huge range of luxury food items, from Seager’s Best Sausages, to Stilton and Roquefort, to everything needed to make and decorate a Christmas cake. Also available were crystallised fruit sweets, and ‘Fancy Boxes of Chocolates’. To drink, the Chelmsford Chronicle advertised Glen Spey Whiskey, made from finest barley malt, and Gilbey’s Invalid Port (a ‘Pure Health-giving Wine’).

Advert for The Clacton Stores, Clacton Graphic, 16 December 1911

Whiskey 15 Dec 1911 Chelmsford Chronicle 1080 watermark

While adverts abound for luxury, or ‘fancy’, items, there were also plenty of adverts for more practical gifts. 100 years ago, people were getting ready for the first peace time Christmas in five years. While luxury goods were still available, there were more adverts such as the one from Bolingbroke & Sons Ltd in Chelmsford, promoting ‘useful and moderate’ presents, ‘the very thing for this memorable Yule Tide’.

Bolingbroke Christmas advert 20 Dec 1918 Chelmsford Chronicle 1080 watermark

 

‘Peace Again! How the News was Received in Essex’


Discover stories of Essex people and places during and after the war at our remembrance event on Saturday 10th November 2018 – find out more and book here.


On Monday 11th November 1918, news that an armistice had been agreed and that the fighting would cease at 11am that day spread through Essex. After over four years of sacrifice and slaughter, how did people react to the news that the war was finally coming to an end?

The Essex County Chronicle reported on the Armistice on 16th November 1918

The news was announced in various ways; in Chelmsford the Essex County Chronicle exhibited a notice in their office window:

‘Peace – Official:

Armistice signed at 5 o’clock this morning; hostilities cease at 11.’

Factories sounded their hooters and whistles, church bells rang out, and the drivers of railway engines sounded their whistles. According to reports in the Essex County Chronicle of 16th November 1918, within a short time most towns were ablaze with flags and bunting, and the streets crowded with people. In Braintree, for example, ‘all work ceased and joyous scenes began’. (In Bishop Stortford, it was reported that a good trade had been done in flags and bunting over the weekend in anticipation of the good news.)

The day was declared a holiday; in Chelmsford, ‘Hoffmann’s great works emptied themselves of the thousands of workpeople’, while in Braintree ‘girl and men workers’ from Crittall’s and Lake and Elliot’s works flooded out. In Dagenham, the managing director of the Sterling Telephone and Electric Company, Mr Guy Burney, was the one to break the news to the workers. The factory staff sang the National Anthem and Rule Britannia, and had a ‘short impromptu dance’.

Across the county, high streets and market squares were filled with people, impromptu speeches were made, and bands played patriotic songs, hymns, and the National Anthem. In Chelmsford, reported the Chronicle, ‘Soldiers and civilians shook each other by the hand, and everyone wanted to laugh, cheer, and shed a tear of gladness at the same time’.

In Witham, a procession paraded the streets composed of women workers from a local munitions workshop, and Scottish soldiers billeted in the town, ‘carrying a large Union Jack and singing joyfully’.

In Halstead, alongside celebrations in the streets, 21 shots were fired from a cannon at Halstead Brewery by one of the owners, Lt. Adams, who also held a commission in the Naval Volunteer Reserve.

In Romford, music was provided in the afternoon by the New Zealand Expeditionary Force Band, who were stationed nearby. There was no military band in Writtle, but recovering wounded men paraded ‘with a tin kettle and bath band’.

In Dagenham, a spontaneous football match was arranged between the RAF based at Sutton’s Farm, and workers from the Sterling factory; the result was a 4-2 win for the factory side.

In Doddinghurst things were a bit more sedate; a whist drive was held in the afternoon to raise money for prisoners of war.

In many places the Christian religion played a central role on Armistice Day, with most churches holding services of thanksgiving in the evening. Vicars spoke to very large congregations; at Chelmsford Cathedral people spilled out into the porch and outside. The central theme of the sermons reported in the Chronicle was giving thanks to God for the Allied victory. One vicar in Brentwood spoke of how he believed that ‘a supernatural power’ had brought about the Victory, and gave thanks for ‘what was to be, they believed, a permanent peace’.

Celebrations continued into the evening (troops in a camp near Bishop Stortford were told by their commander that they would be allowed out until the heady hour of 11pm). In Braintree, the evening brought a concert, arranged by discharged soldiers, held in the Institute Hall. In Bishop Stortford, a large number of people were still gathered in the market square, and local Volunteers paraded, with light being provided by the Fire Brigade carrying torches, and the parade being joined by soldiers, women workers, wounded, and school children. ‘Most of the lamps in the streets had been lighted, and welcome lights again shone from windows.’

Celebrations in Witham were a little different; at 10pm, ‘a great bonfire was lit in the old Market Place in the middle of Witham High Street. Tar barrels, with a quantity of tar, boxes, timber, and other fuel were provided, and a great flare was created, reaching as high as the tops of houses adjoining the street. A crown of many hundred people, soldiers, sailors, munition girls, and townspeople, assembled round the fire, dancing, singing patriotic songs, and generally enjoying themselves. The fire, which lasted four hours, was the greatest seen for many years in Witham Street, where on previous historic occasions such fires were lighted’. The townspeople enjoyed the bonfire so much, they had another one the following night on the green opposite the church, this time with fireworks, while patriotic songs were sung and the church bells pealed.

In Bures the occasion was also marked with a bonfire, the villagers going as far as to burn an effigy of the Kaiser ‘amid loud shouts of approval’.

In Dunmow, meanwhile, German prisoners of war accommodated in the town workhouse also welcomed the news with a smoking concert in the evening. The end of the war ‘gave them obvious pleasure, as did the turn events had taken regarding the Kaiser’. The over 200 Germans sang German songs ‘for some hours’, and apparently many ‘expressed the hope that they would not be compelled to go back to Germany, but allowed to stay at their present employment in England’.

Some towns continued the celebration over the following days. In Braintree, factories remained closed on Tuesday, and ‘processions paraded the town all day, headed by the ugle bands of the Cadets and Boy Scouts, and the newly formed Brass Band’ (which had got together the previous day). In Halstead, a service of thanksgiving was held in the Town Hall on Wednesday, with people coming from all the town’s places of worship. The service finished on Market Hill, and bells of nearby St Andrew’s church rang out, the tower being decorated with national flags and bunting

Alongside the celebrations though, people also remembered those they had lost. In Braintree, amid ‘all the rejoicing people could be seen weeping for their relatives who had made the supreme sacrifice, and generally the gladness manifested was tinged with sorrow for the fallen.’

Chelmsford Then and Now: layers of history

In the twelfth and final post from our Chelmsford Then and Now project, student researcher Ashleigh Hudson explains how during her research project we used maps to establish areas of continuity and change in the High Street of our county town.

A key objective of the Chelmsford Then and Now project was to establish what has changed and what has stayed the same over time in the centre of our county town. We are lucky that Chelmsford has been mapped and re-mapped several times over the centuries, enabling us to make comparisons over time, and to find traces of the medieval town in today’s High Street, even though no buildings from that period survive. In this post we will show how we have used maps in this project to look at the detailed history of specific properties.

The earliest known map of Chelmsford was drawn up by John Walker in 1591. The shape of Chelmsford High Street, as depicted on the Walker map, is remarkably similar to the shape of the high street today; in fact the basic make-up of the town has not changed in nearly five hundred years. Internally, the shape and size of individual properties has varied significantly over time, reflecting changing economic, demographic and technological trends. The 20th century in particular saw sweeping changes to areas of the high street. As the town’s population increased, the demand for more retail spaces grew, and the arrival of department stores facilitated the absorption of many of the smaller businesses.

southend saturday

Extract from John Walker’s map of Chelmsford, 1591.

Observing the sites of 61-66 High Street on several Ordnance Survey maps, it was immediately obvious that a number of properties had been consolidated, demolished or rebuilt over time. Using the first edition OS map of 1876 as a starting point, it is clear that large, department sized stores were not yet a standard feature of the high street. Based on this map, we can see that properties in this section of the high street were small and packed closely together, perhaps the result of centuries of uncoordinated and sporadic development.

(2) OS Map 1876

Extract from the 1876 first edition OS map, from the west side of the high street. 61 High Street is occupied by the Queen’s Head inn. Adjacent to the Queen’s Head sits a narrow passageway, which leads from the high street into the yard. To the north of the passageway is the site of 62 High Street and adjacent to that, a number of small, individual properties, all of which would ultimately form part of the Marks and Spencer’s site in the 1970s.

For a more direct comparison, we took photographs of the OS maps from 1963 and 1974 and uploaded them into Photoshop.

(3) 1963

Extract from the OS Maps of 1963 and 1974 showing the sites of 61-66 High Street. The 1963 extract has been highlighted in red, while the 1974 extract has been highlighted in blue.

(4) 1974

Extract from the OS Maps of 1963 and 1974 showing the sites of 61-66 High Street. The 1963 extract has been highlighted in red, while the 1974 extract has been highlighted in blue.

From there we layered the maps, drawing around the border of each property using different colours to make it easy to differentiate between them. Areas where the borders had shifted were then clearly visible, indicating where and when development had occurred.

(5) 1963 and 1974 layered

Extract from the 1963 map highlighted in red, layered with the extract from the 1974 map highlighted in blue.

At first glance, the OS map of 1963 appears remarkably similar to the OS map of 1876. There are still plenty of small properties, packed closely together. The Queen’s Head is still present, identifiable by the ‘PH’ for public house. The property retains its distinctive shape and the narrow passageway, sandwiched between 61 and 62, is still visible.

The biggest and most obvious changes have occurred by the OS map of 1974. The 1974 map presents a significantly changed section of the high street. The former Queen’s Head building has been demolished, and in its place a uniform, rectangular building has been erected. The narrow passageway has been built over and now features as part of the sites of 61 and 62. The sites of 62-66 now form one large property, occupied by Marks and Spencer’s.

(6) SCN 4595

Photograph of the west side of the high street including the Queen’s Head in the centre and several properties to the right that would eventually form part of the Marks and Spencer’s site. Photo by Fred Spalding.

(7) Current Image

A current image of the west side of the high street.

This map comparison perfectly illustrates how the town was transforming in the 20th century to accommodate modern development. In many cases the new buildings replaced small, dated properties which were considered no longer fit for purpose. The imperfect, quirky buildings visible in the Spalding photograph above were replaced by larger modern buildings built over several of the historic plots. Whether these new, spacious retail establishments improved the overall appearance of the high street is open to debate.

If you would like to use historic maps for a project of your own, do come and visit our Searchroom where staff will be happy to help you get started.

And that’s all from the Chelmsford Then and Now project! We will shortly be publishing the results of a similar project undertaken in Colchester so if you like old maps and historic photos there are more treasures to come.

Chelmsford Then and Now Project: Photographs and Photoshop

In our eleventh and penultimate post from our Chelmsford Then and Now project, Ashleigh Hudson explains how during her research project we compared historic photographs of Chelmsford High Street with today’s streetscape.

Chelmsford is often (we think mistakenly!) viewed as having little in the way of historic character. We would argue that there are, in fact, as many examples of continuity as there are of change, and the key is to know where to look. One of the invaluable resources used during this project is the Spalding photographic collection of some 7,000 images. The Spalding family of photographers were based in Chelmsford High Street from the 1860s until the 1940s, and recorded how the street has changed over time.

Fred Spalding senior was a self-taught photographer who set up the family business in Tindal Street in the mid-19th century. His young son, also called Fred, took a keen interest in his father’s business and quickly picked up the family trade. Several years later, an adult Fred relocated the thriving business to the site of 4-5 High Street (the current site of NatWest), where he established himself as the town’s ‘go-to’ photographer. The Spalding family captured Chelmsford through time, and their legacy endures through their magnificent collection of images. You can read more about Fred Spalding and the Spalding shop here.

We have done our best to recreate some of the Spaldings’ classic shots of the High Street, taking a set of prints out with us and dodging showers to do replicate the original pictures as closely as we could.

A quick comparison of some of the images revealed a high level of continuity across the upper half of most of the buildings. While the various owners and occupiers have changed over time, many of the architectural details have endured.

(1) SCN 2261

Photograph of the Spalding shop c.1930

(2) Current Image 4-5

The same building today. Beneath the layers of cream and pale blue paint, the upper exterior of NatWest is very much the same as when the building was occupied by Spalding.

Armed with our fresh images, the fun could really being. Using Photoshop, we layered the old photographs on top of our new ones, blending the two images together:

(3) Photoshop Print Screen 1

The Spalding image is layered over the top of the current image. The image is resized and repositioned to fit the intended space

(4) Photoshop Print Screen 2

It was then possible to blend the Spalding image into the current photograph.

(5) SCN 2-Current

A finished example of this process. The edited image stretches down the high street, from the present day to the past.

In some instances, such as with Jamie’s Trattoria/Barclays Bank (no.2 High Street), the level of continuity is striking.

(6) SCN 1188-Current

Barclays Bank c.1930 layered over the current occupier, Jamie’s Trattoria.

In contrast, areas where entire stretches of the High Street were demolished and rebuilt, such as the sites of Paperchase and M&S (61-62 High Street), the edited images revealed how parts of the High Street are completely unrecognisable.

(7) SCN 4595-Current

The west side of the high street featuring the Queen’s Head in the centre and a building that would later form part of the future site of Marks and Spencer’s. These buildings have since been demolished and the site redeveloped, which is why the images do not match up smoothly.Ch

You can see the final results of our image blending on our Historypin page, or you can visit the Searchroom to explore the full extent of the Spalding photographic collection.

Five favourite Chelmsford documents

Hannah Salisbury, Engagement and Events Manager

We have two great events coming up in late October looking at the history of Chelmsford. On Wednesday 26 October we have a guided walk of the city centre based on John Walker’s fabulous 1591 map (see below if you have never seen this before), and on Saturday 29 October we are hosting Chelmsford Through Time, a pop-up display of historic maps and photographs, with a talk by Dr James Bettley on the post-war development of Chelmsford. You can find details of both of these on our events webpages.

In preparation for these events we have been sifting through some of the masses of material we have on Chelmsford history, and I thought I would share here five of my favourite Chelmsford items from our collections, that provide fascination snapshots into the past of our county town.

  1. John Walker’s map, 1591

Any round-up of significant documents of Chelmsford’s history must surely start with John Walker’s spectacular map, dating from 1591 (long-time readers of this blog will most like have come across this in some of our previous posts). It shows the town in exquisite detail, with each building individually drawn with its own doors, windows and chimneys. What’s more, a written survey that goes with the map tells us who was living in each of these properties at the time. It’s a very special window into the past that I never get tired of looking through.

Walker map Chelmsford

Extract from John Walker’s map of Chelmsford, 1591, showing the town (D/DM P1)

  1. James Maylett execution

A grimmer choice, but I have always been interested in Tudor history and this snippet from the Chelmsford burial registers serves as a reminder of how brutal life could be. This burial entry dates from December 1542, and reads:

Jamys Maylette clerke Bachelor of Dyvinyti and p[ar]son of moche Lyes was drawen hanged and quarteryd on the market hyll for high treason on fryday the firste daye of December ao 1542.

That is to say, James Mallett, the parson of Great Lees, was hung, drawn and quartered in the market square at Chelmsford for high treason. 1 December that year was a Friday, market day, to ensure maximum witnesses for the gruesome spectacle.

Mallett had been a chaplain to Katherine of Aragon, Henry VIII’s first wife whom he divorced in order to marry Anne Boleyn. Mallett had also been rector of Great Leighs for 28 years. His treasonous offence was to comment unfavourably on Henry’s policy of dissolving religious houses. His public execution must surely have been intended as a warning to other clergy not to pass comment on the king’s decisions.

james-maylett-watermarked

Extract from the Chelmsford parish registers showing the burial of James Mallett, December 1542 (D/P 94/1/4 image 26)

 

  1. Spalding photo of High Street, c.1869

This is one of the earliest surviving photographs of Chelmsford High Street, dating to about 1869. It shows a view looking north up the High Street towards Shire Hall. It was taken by Fred Spalding, Chelmsford’s first commercial photographer. Spalding’s son and grandson both became photographers too, and we have about 7,000 of their photographs at the ERO today. This one, like all of Spalding’s early photographs, was taken on a glass plate coated with chemicals; a challenging process to get right, especially in the open air.

d-f-269-1-3715-watermarked

Photograph of Chelmsford High Street by Fred Spalding, c.1869 (D/F 269/1/3715)

  1. Photograph of Chelmsford Corn Exchange

If I could wave a magic wand over Chelmsford I would love to be able to bring back the Corn Exchange. This neo-Renaissance building was designed by Fred Chancellor in 1857, and sat on Tindal Square (Shire Hall is just out of frame on the right of this photo). It was demolished, along with the whole of the west side of Tindal Street, to make way for the High Chelmer redevelopment in 1969.

corn-exchange-1080-watermarked

Photograph by Fred Spalding of Chelmsford Corn Exchange

  1. Women at work in Marconi’s

This photograph is one of a series of images taken of Marconi’s Hall Street works, sometime between 1898 and 1912. At the start of the twentieth century, women were mostly expected to marry, have children, and stay at home. As an archetypal `new’ industry, the wireless industry involved complex assembly operations and `high-tech’ components requiring manual dexterity. The Marconi Hall Street works pioneered the early recruitment of a trained female workforce. Women are so often invisible or difficult to find in historical sources, so to find such striking photographs giving an insight into what their lives were like is always exciting. (You can see some more photos from this set on our Historypin page.)

Women at work in Marconi's Hall Street Factory, c.1902 (A11449)

Women at work in Marconi’s Hall Street Factory, c.1902 (A11449)

 Join us for Walking with Walker (Wednesday 26 October 2016) or Chelmsford Through Time (Saturday 29 October 2016) to delve deeper into Chelmsford’s history.