A year in the life of an archives assistant

College Archive

Coming to the end of my time as the Archives Assistant at Eton, I find myself divided between feelings of excitement for the future, gratitude for everything I have been able to see and learn, and sadness at leaving a Collections team that made it such an enjoyable experience, and one in which my consumption of cake has tripled.

The position is a trainee role, allowing me to learn what it takes to be an archivist, gain hands on experience, and (hopefully) help contribute to the work of the College Archives along the way. Over the year I have certainly been kept busy, working upon a range of projects including: cataloguing records of an island owned by the College; running a session as part of a challenge day at a local primary school, allowing 8 and 9 year old pupils to get hands-on with our records and investigate the life of Dr John Keate, a 19th century Eton Head Master; and assisting researchers using our records. The majority of my time has been spent cataloguing around 3300 letters sent to the College bursars between 1775 and 1900, which discuss day to day business – from food orders to the income from the College’s estates and the construction of new buildings to meet the needs of the ever expanding school.

When I started this job I thought that being a successful archivist was all about having a good eye for detail and an ability to order things, I now know that there is so much more to it than just that. You must have the confidence to trust in your knowledge and skills, knowing that a mistake could impact upon a researcher in the future. Be versatile enough to deal with the wide range of material in your collection, from wax seals, parchment rolls and boxes upon boxes of handwritten letters; to magazines, books and even emails. If I had my time again, I would certainly brush up on my non-existent Latin and Greek! Not to forget being willing and determined to spend hours removing rusted pins, paperclips and staples from documents they would otherwise damage.

I remember being unsure before I started of what to expect from the College Archives. What I have found is a place in which I was given the opportunity to ask questions, work within a fantastic archive on amazing records, and learn from excellent people.

By Josh Insley, Archives Assistant

Tags:

Cataloguing, College Chapel, Training

Lily and rose: the progress of the silver commission for College Chapel

Silver

Thanks to the generosity of the Friends of the Eton College Collections and some associated donors, the college has been able to commission a pair of candlesticks and a chalice and paten for College Chapel.  The silversmiths working on this commission, Rod Kelly and Miriam Hanid, have shared with us some photographs of their progress.

Maquette for the chalice by Miriam Hanid.

Wooden model of the chalice being turned on a lathe.

After chasing and engraving the lilies on the chalice, Miriam will finish the piece in a satin brushed finish. The interior of the bowl will be gilded in lemon gold.

The design for the chasing and engraving on the Lily Chalice

Miriam’s design for the Lily paten seen from above

The design for the Lily paten in cross-section with the chalice

The silver chalice in its initial form – its machined, spun state. The machined silver chalice will be smoothed and polished before the chased pattern is added.

Model for the Altar Candlesticks with four half round silver tubes as part of the construction of the knop.

Rod Kelly establishing the height of the candlestick. The wooden shaft will eventually be made in English Walnut but at this stage it is made in pine as part of the model.

Rod Kelly scoring the silver with a sharpened cutter. The silver can then be folded along the score to produce the right profile.

Two candlesticks in the window of the workshop that overlooks the sea.

Two models with the hand-made silver sections in place. Each side has been cut, shaped by hand, and then soldered together to produce the final shape.

Rod Kelly offering up the silver knop section to the second candlestick.

Rod Kelly with the first viewing of the silver sections in place.

 

Tags:

Candlemas, Chapel Silver Project, Christianity, Friends of the Collections

Planes on the playing fields: life at Eton in WW1

College Archive

Letter by Dickie Harington, 30 May 1915

Four letters written by Dickie Harington [Sir Richard Dundas Harington, at Eton 1913-1919] have been purchased by the archives. Sent to his parents, they describe life at Eton during the First World War.

He describes how in May 1915, a bi-plane landed on Agar’s Plough, and includes a diagram and detailed description of the plane “It was built in 1915 by Vickers…I touched its propeller and it was  very greasy, and I touched its wings and found they were made with a vacuum inside…had rings of red white and blue printed on her bottom wings”. The pilot was an Old Etonian, a member of Pop, who boarded at Brinton’s and had come to have lunch there.

Letter by Dickie Harington

Plan of a bi-plane by Dickie Harington

Another letter describes some of the war work undertaken by boys. “Three boys in my house are making shells, they go to Slough every day and the hours are from lunch till the evening one day, and from early school to lunch another day, and so on alternately”.

Although there was an attempt to continue life as normally as possible, letters such as these give glimpses into the way the war impacted on those boys still at Eton.

By Eleanor Hoare, College Archivist

Tags:

20th century, Acquisitions, Military, Planes, School activities, WW1

A distant prospect of Eton: or, on leaving presents

College Library

The poet Thomas Gray, most celebrated for his Elegy written in a country churchyard (1751), attended Eton College from 1725 until 1735, during which time he formed the self-styled ‘quadruple alliance’ with Thomas Ashton (1716–1775), Horace Walpole (1717–1797), and Richard West (1716–1742). Gray went on from Eton to become a scholar at Cambridge, but it was his acquaintance with Walpole (with whom he went on a Grand Tour of Europe in 1738) that helped to popularise his work. The Elegy was published with Walpole’s help in 1751, and Odes by Mr. Gray was printed at Walpole’s own Strawberry Hill Press, near Twickenham, six years later.

Gray was to leave a more personal legacy at Eton. During the nineteenth century, ‘leaving books’ were given by masters to boys upon their departure from Eton. Lavishly decorated volumes of Gray’s Poems were presented as leaving books, a practice which continues to this day. College Library has many examples of these gifts, including the leaving books of former Provost M. R. James (1862-1936) and former Assistant Master Hugh Macnaghten (1862-1929). Some leaving books were richly adorned with gilt edges and vellum bindings, and had bindings gold-stamped with the Eton coat of arms. The binding of a leaving book presented to the 6^th Earl of Dartmouth, William Heneage Legge (1851-1936), is not only grandly embellished with gold decoration but also has a fore-edge painting which, when viewed from the right angle, beautifully depicts Eton College and Windsor Castle.

College Library holds many fine examples of Gray’s works of verse, and books from his own library. Gray’s personal copy of Juvenal dates from his schooldays at Eton, and contains an inscription reading: “E. libris Thomas Gray Schol: Eton: alum: 1733”.

Inscription by Thomas Gray, as an alumnus of Eton College, in his copy of Juvenal’s poetry (ECL Iaa2.5.6).

The first of Gray’s works to appear in print was his Ode on a distant prospect of Eton College. It is generally considered to be the reflections of a disillusioned adult returning to his schooldays, and it captures the magnificent scenery that surrounds Eton College. One of the more unusual items in this Gray collection is an album of cross-stitch of the Ode, vibrantly sewn in purple and green thread. The title-page depicts Eton’s motto and coat of arms.

Floreat Etona cross-stitch embroidery (ECL Ie10.5.21)

First lines of Gray’s Ode on a distant prospect of Eton College (ECL Ie10.5.21)

Gray’s time at Eton is strongly reflected within his ode, and, during the nineteenth and twentieth centuries, was immortalised for subsequent students within leaving books, irrevocably linking Thomas Gray to Eton.

By Eleanor Wale, Project Cataloguer

 

Tags:

18th century, Literature, Poetry, School activities, Thomas Gray

Aiming at the highest peaks: Wilfred Thesiger rewrites his first book

College Library

The explorer Wilfred Thesiger never intended to write a book about his travels, but in 1956 he was persuaded, and he began work on Arabian Sands.  Thesiger’s old Eton friend Valentine ffrench Blake commented on the first draft, calling certain paragraphs ‘clumsy’ or simply ‘no good’.  Thesiger was grateful for his friend’s advice and during the next three years the work was subjected to constant revision and proofing.

However, the meticulous revisions of the work took their toll and Thesiger became disillusioned with the whole thing.  Thesiger’s literary agent Graham Watson of Curtis Brown had to persuade him not to throw in the towel, writing in a telegram that ‘those who aim at the highest peaks must be judged by the highest standards’.  Watson was sympathetic but stern, insisting Thesiger labour through a steady working day even if redrafting was ‘darned discouraging work’ — good advice for any writer.

The words had the desired effect and Thesiger went on to complete Arabian Sands and a further eleven books.  Thesiger maintained that Arabian Sands was his finest work.

By Ceri Brough, Project Archivist

Tags:

20th century, Etonians, Exploration, Writing

Transformative conservation: ‘The Lamentation’

Conservation

As the newly appointed Conservation Steward, I’ve been working over the past nine months to improve how we care for the objects in the College Collections, commissioning specialists to perform conservation treatments and carrying out preventive care as well as in-house conservation treatments.

Recently we commissioned a particularly interesting treatment on a painting called The Lamentation by Pietro Testa–a 17^th century oil on canvas. It hangs over the altar of the Our Lady of Sorrows Chapel, located on Eton Court Road in Eton. The chapel was commissioned between 1905 and 1915 by Old Etonian Lord Braye, who wanted a Roman Catholic Chapel built for the use of the Roman Catholic students of the school and the parishioners of Eton and Datchet. In recent years this building was acquired by Eton College.

‘The Lamentation’ before treatment

The Lamentation is significant in size (two metres long by one metre high) and holds a prominent place within the chapel. In 2014 an initial condition assessment of The Lamentation was undertaken by the Hamilton Kerr Institute in Cambridge. They ascertained that the original canvas was typical of the early 17th century, but that it had undergone relining onto a secondary canvas in the 19th century. The paint layers seemed stable but the varnish was extremely discoloured, taking on an orange-brown tone that rendered the painting almost unreadable. In addition it was noted that there were many areas of retouching, probably from previous treatments, which were also extremely discoloured and disfiguring.

The conclusions from the assessment were that a full cleaning of the painting should be undertaken, including total removal of the varnish, removal of the overpaint in retouched areas and consolidation of any flaking paint layers. Finally, areas where paint had been lost would be filled and retouched, and a new varnish added for protection. Thanks to a generous donation, we were able to fund the treatment and in 2016 the painting was sent to the Hamilton Kerr Institute to be conserved.

It has now been almost a year since it left Eton and it has proved itself to be one of the most transformative conservation treatments ever undertaken at Hamilton Kerr. During the varnish removal it emerged that there were many layers of decayed varnish with dirt sandwiched between them, explaining why the painting was so dark and the subjects almost completely obscured. What conservators found under these layers were the bright and clear tones of the original 17th-century paint, which had been unseen for years. The painting is now in its final stage of conservation, being retouched and awaiting its new varnish layer. It is expected to be returned to us in early May.

Halfway through treatment

This project has been extremely rewarding in many ways, including the forging of new relationships with external conservators and giving conservation students the chance to work on and research a significant artwork. It will bring an artist’s original vision back to life and share it with the parishioners of Our Lady of Sorrows and the wider Eton community: an exciting example of the Collections team’s work to care for and preserve the collections for the benefit of present and future generations.

By Aimee Sims, Conservation Steward

Tags:

17th century, Christianity, Paintings

Hodgkin at Eton

Fine Art

Venice Evening, by Howard Hodgkin (1995). Courtesy artist’s estate and Alan Cristea Gallery, London.

On 9 March 2017, the artist Howard Hodgkin died in a London hospital. One of the most significant and influential painters of his generation, Hodgkin is also the most celebrated of the many distinguished Old Etonian artists. His first retrospective, curated by Nicholas Serota, was held at the Museum of Modern Art, Oxford, in 1976. In 1984, he represented Britain at the Venice Biennale and in the following year won the Turner Prize. He was knighted in 1992 and made a Companion of Honour in 2003.

Hodgkin’s connection to Eton is recognised by the display of two prints, Venice Evening and Venice Night, from the Venetian Views series (1995), each almost two metres wide, which hang in the foyer of the Farrer Theatre. However, he was only a pupil at Eton for one academic year, before his repeated running away led the school to insist he attend sessions with a therapist. He had lived in America as a young child and later claimed that he successfully persuaded the therapist to recommend that he return to the States instead of beginning a second year at Eton. But despite being deeply unhappy as a schoolboy, later in life Hodgkin fondly recalled the time he spent in the Drawing Schools with the then Drawing Master, Wilfred Blunt. He admired Blunt’s willingness to offer a clear verdict on the merits of a work, a quality he feared was being lost, and claimed to have learnt something of how to live as an outsider from Blunt. He held particularly vivid memories of Blunt’s eclectic collection of objects displayed within a glass cabinet in the Drawing Schools. These assorted items were intended for boys to draw or paint from and Hodgkin specifically recalled among them an African sculpture of a dog with an erect penis.

Venice Night, by Howard Hodgkin (1995). Courtesy artist’s estate and Alan Cristea Gallery, London.

Over half a century after his single year as a pupil of Eton, Hodgkin returned for a fleeting visit. In 2002 he was asked to open a new extension to the Drawing Schools and to view his two prints, newly installed in the Farrer Theatre. Current Drawing Master, Ian Burke, remembers meeting Hodgkin during this visit:

He was obviously a very intelligent and slightly detached man, who did not comment on any of the work on display. He seemed relatively pleased that the two prints in the Farrer Theatre had been purchased by his old school.

In his speech, when declaring the new section of the Drawing Schools open, he thanked Eton and the past Drawing Master Wilfred Blunt for encouraging his enthusiasm for painting and art in general. He described Blunt as inspiring and very encouraging to a boy who much preferred painting to games.

The prints can still be viewed in the foyer of the Farrer Theatre at Eton.

By Philippa Martin, Keeper of Fine & Decorative Arts

Tags:

Contemporary art, Etonians, Prints