New! Guide to the Essex Record Office for creatives

Green box tied like a present with white string (archive tape). The label on the front of the box reads 'Essex Record Office: Guide for Creatives'

Archives are a rich source of inspiration for many creatives interested in the histories of people and place – artists, writers, filmmakers, photographers, musicians, designers and producers. But it can be difficult to know where to start.

To help, we’ve put together a new guide to the Essex Record Office for creatives. The guide covers how to search, access, and use the archives, what we can offer, case studies, and inspiration from the collections.

If you haven’t come across us before, the Essex Record Office is the county archive for Essex. We’re based on Wharf Road in Chelmsford, where we preserve nearly 1,000 years of Essex history. That includes all sorts of records, from medieval charters to twenty-first century digital files. You can search the archives on our catalogue, Essex Archives Online, and access them either online or in-person in our searchroom.

Painting of a large bright room, with windows to the left and bright lights above. In the room are long desks and orange chairs.

The Search Room at Essex Record Office, Robert Priseman

As visual, material, textual objects, the archives preserved at the Essex Record Office can tell many different stories. We hope that this guide will help you find something that inspires you in your creative practice.

In turn, creative interpretations of the archives can give us new ways of understanding them. They also help to share them with a wider audience and open up a conversation about what has been preserved from our past – and what we should preserve for the future.

We’re thinking of the guide as a work in progress – let us know if you think we’ve missed anything that would be useful to know!

Please note that the charges given in the guide are accurate for 2024-25, and may change in future.

If you are part of a creative network or studio and would like a physical copy of the guide, please get in touch.

Access the guide online here.

Photograph of Basildon town centre from above at night, with the lights on in the office windows and along the pavement. Above the photograph is text: 'The Future is About to Begin'

Page from the Commission for New Towns guide to Basildon, 1980s (A8389)

 

Cydonia Oblonga – the Quince

Neil Wiffen HeadshotIn his latest blog on fruits and vegetables, ERO Archive Assistant and Orchard Authority Neil Wiffen, considers quinces.

Cydonia Oblonga – the Quince

The autumn is when the English apple and pear season really gets in its stride. What a delight that the D’Arcy Spice is soon to be back in season, the Ribston Pippin on the shelves, a Doyenné du Comice pear slowly ripening in the fruit bowl. A poor relation to these well-known orchard fruits is the quince. Such a jolly, good-looking fruit, glowing all gold and yellow among the foliage but as hard as iron!

Yellow quinces in a wicker basket.

Yellow quinces in a wicker basket.

The quince is not native to Britain, it probably originated far to the east, in Turkestan and Transcaucasia. It was known on Crete at an early stage, and it was from here that it derives its name, Cydonia, from the city of Cydonea, now known as Canea. It appears that it was not introduced into Britian until after the Norman Conquest, and it is recorded that Edward I had some in 1275. (F.A. Roach, Cultivated Fruits of Britain: Their Origin and History (1985), pp.221-223).

Possibly the quince was generally a fruit of the gentry and aristocracy as being hard and gritty it must be cooked, often with wine, sugar and honey. Quince jelly and quince cheese perhaps have their origins here. Philip Miller, in The Gardener’s Dictionary (1731), goes as far as to say that ‘the fruit is sour and astringent’ (ERO, D/DU 588/1). The recipe ‘To p[re]serve Quinces’ (ERO, D/DBy Z1) uses a lot of sugar along with rose water and cinnamon – all expensive ingredients in early modern England.

Extract from D/DBy Z1 a recipe for preserving quinces.

Extract from D/DBy Z1 a recipe for preserving quinces.

It can also be used in savoury dishes, so perhaps this is where it would have found a role in most households. However, in the first half of the eighteenth century, someone decided to note down a recipe for quince wine (ERO, D/DRe Z5, c.1725), another way to make use of them, although with you still needed ‘3 pound of sugar’ to ‘every gallon of licker’.

Extract from D/DRe Z5 a recipe for quince wine

Extract from D/DRe Z5 a recipe for quince wine

It is generally a very good ‘keeper’; it would have found a welcome shelf in the fruit store to help provide a supply over winter in an age before refrigeration and imports from around the globe. Mixed in with apples, it makes a wonderful crumble, bringing a lovely, distinctive taste and colour. I can imagine that it was ‘valued’, as an addition to the diet, but possibly not loved.

1st ed 25inch OS 1873-4 Blackmore

Quince Hall in Blackmore 1st ed 25 inch OS 1873-4

The quince has left little in the way of records, the odd place-name, such as Quince Hall in Blackmore, and Quince Tree Farm in South Ockendon – perhaps both named after a distinctive and unusual quince tree in their gardens? The quince as a landscape feature.

Quince Tree Farm 1st ed 25inch OS c.1875

Quince Tree Farm 1st ed 25inch OS c.1875

If you want to find out more about apple days and all things celebrated around orchard fruits see: https://www.commonground.org.uk/apple-day/

If you want to see how the ERO got on ‘p[re]serve[ing] Quinces’ or how the c.1725 quince wine recipe came out then take a look at our video.

You can download the recipes here:

Preserved Quinces Recipe – Transcription

Quince Wine Recipe – Transcription

If you would like to see the quince recipe in D/DBy Z1, it will be on display in the ERO Searchroom until the end of November.

Take a trip to your local farm shop to hunt out a quince – let’s put it back on the menu!

New art collective Care Contractors visit Essex Record Office to research Pilot Basildon Public Art Trail

Back in August, we were delighted to welcome the Care Contractors to the ERO Searchroom to explore the records of the Basildon Development Corporation. In this guest post, they tell us about their work and how the archives have helped them.

We are a newly formed art collective called Care Contractors, interested in public art, its maintenance, commissioning, and fabrication. Our members are Emma Edmondson (sculptor, educator and organiser), Lu Williams (artist, publisher), Shaun C. Badham (sculpture, artist, technician) and Laura Whiting (designer, researcher). Our first project commissioned by Creative Basildon is to develop a pilot cultural trail and community engagement for public art in Basildon that will take place this autumn.

Publicity photograph, opening ceremony of Wendy Taylor’s Armillary Sundial (1989) part of the Roundacre Improvement Scheme. Wendy Taylor is shown standing in front of the stainless steel sculpture with Harry Bacon and Gordon Roberts from the Commission for New Towns (catalogue ref: A8287 box 4)

As part of our research we want to understand how early public artworks were commissioned by the Basildon Development Corporation, what funds were allocated and how conversations between artists and government officers unfolded. To prepare for our visit to Essex Record Office, we were introduced by Alina Congreve of New Jerusalems to archivist Victoria West for an initial video call. This helped to plan our research day, as the collection features an enormous 1,065 boxes of Basildon Development Corporation material.

One box (from accession A8287 box 4) containing letters, papers and publicity material from the administrative department proved really useful for our research: photos of the iconic Mother and Child (1962) fountain being built in Maurice Lambert’s studio (that for a time was also the Basildon logo); photographs of the bronze Homer (1961) by Frederick Edward William in Brooke House, now sadly missing; along with photos of the opening ceremony of Wendy Taylors’ Armillary Sundial (1989) attended proudly by the Commission for New Towns officials Harry Bacon and Gordon Roberts. As we looked through the materials some common questions arrived – what plans were put in place for maintenance? Who is responsible for this work? And what might be a sustainable vehicle to undertake this today?

From looking through promotional brochures in A8389 box 3 the role public art played in attracting new business, residents and shoppers was very apparent. Basildon produced its own district guides, commonly featuring well-loved artworks such as Pussiewillow III (1981) by Rowland Emett outside Savacentre (now ASDA) on its cover. We wondered what would be the equivalent today? And the contemporary role public art plays in promoting the town.

Booklet: Welcome to the District, published by Basildon Council, No date, estimate 1982, cover featuring a crowd admiring the newly installed Pussywillow III sculpture (catalogue ref: A9389 Box 3)

Booklet: Welcome to the District, published by Basildon Council, No date, estimate 1982, aspirational quote set against photograph of Mother and Child Fountain (1962) Maurice Lambert, and Keay House (now Southgate House) in the Background before remodelling (catalogue ref: A9389 Box 3)

With our project we had already decided to focus on the work of Wendy Taylor for its hybrid approach to public realm design. Still innovative today, Taylor’s approach was feminist, pedestrian and cycle focused; her designs wove together a series of roundabouts and underpasses at the Eastern and Western gateways to the town centre. Commissioned by the Development Corporation, The Roundacre Improvement Scheme Underpasses (1985-90) were designed to increase safety with curved walls that prevented attackers from pressing their victims up against the sides, and coloured patterned tiles specified for their light reflective qualities, as seen with The Avenue of Trees underpasses. Since 2013, these underpasses have been left with half the tiles removed after the installation of new lighting. Now under the care of Essex County Highways, since the disbanding of the Development Corporation, advocating for their repair is a more complex task. 

Amongst the archive photos, we rediscovered the currently overgrown sculptural letters of Taylor’s Compass Bowl (1980) at Southernhay / Long Riding. Understanding the original intention of these environmental works could, for example, inform instructions given to gardening teams today, and reinject the meaning to this unique outdoor sunken ‘room for contemplation’. We also found photos of another currently underloved artwork – Taylor’s Animal Fesco Underpass, completed in Phase II of the Roundacre improvement works connecting Gloucester Park and what was previously a boating lake and public swimming pool. Its sloped sides are just steep enough to climb if you have good shoes, it encourages you to scramble over the silhouettes of life size animals cast with dyed concrete. Common across public art in New Towns is its availability to be climbed and played on, and intentionally or not, concrete of all textures has proved useful over time, which might not be the most ecological material choice today, but is nonetheless easy to maintain.

As Basildon reaches its 75th year, we can reflect on the generosity, co-ordination and ambition of the late stages of the Development Corporation projects. With new redevelopment plans afoot, what opportunities may arise for thoughtful and sensitive new infrastructure? How will public art be integrated, and most importantly who will care for, clean and curate it? Through our project we will be establishing conversations with residents, council officers, shoppers, festival goers, artists and commissioners with what new forms of artworks are relevant today, and who does the work of care in a time and cash poor society? 

Photograph, year unknown, Wendy Taylor’s Compass Bowl (1980) at Southernhay / Long Riding roundabout showing directional floor paving and angular raised planters and stylised compass letters (catalogue ref: A8287)

Colour photograph showing present day Compass Bowl conditions, resurfaced floor, and abundant vegetation that obscures stylized lettering. Members of Care Contractors Art Collective Lu Williams, Poly (dog) and Shaun C. Badham in the mouth of the tunnel (credit Emma Edmonsdson, 2024)

You can follow the Care Contractors on Instagram here: www.instagram.com/care_contractors/

For full list of public activities and events please see: creativebasildon.co.uk/care-contractors/

You can find our more about the New Jerusalems project here: www.newjerusalems.info/ and follow on Instagram here: www.instagram.com/new.jerusalems/

Essex Record Office has two guides to the Basildon and Harlow Development Corporations records: Guide to help you start exploring the New Town Development Corporation Records and Harlow and Basildon in the Essex Sound and Video Archive