Registered by Jeffrey & Co on 21 August 1879. BT 43/103/338553
Well-known as an illustrator of children’s books, Walter Crane designed a number of nursery wallpapers for Jeffrey & Co, including The Sleeping Beauty. Like William Morris, Crane believed that the decorative arts had symbolic potential. Morna O’Neill (2010) has discussed the way in which Crane returned to the theme of The Sleeping Beauty throughout his career. For example, in an essay of 1892 he refers to ‘the sense of beauty’ who, ‘like the enchanted princess in the wood, seems liable, both in communities and individuals, to periods of hypnotism’.
“My grandfather told me this story when I was ten years old, surrounded by children like I am today. My grandfather was among the guardians of the king. His father knew Kamengeri.
Now I am 84 years old and a survivor of genocide. I have many grandchildren and some of them also have children.”
Ep02-123. © 2013 Adrienne Livesey, Elaine Ryder and Irene Brien.
1929: Framed by two of the BCC plant’s buildings, this shot shows an ocean liner, being passed by the Libia, an Italian warship. Ephgrave took care to catch the angles of the staircases and of the plant’s sheds, composing an almost abstract study out of the technologies of power, coercion and capital.
A. Cartaz, “Du somnambulisme et du magnétisme à propos du cours du Dr Charcot à la Salpêtrière”, 1879. Research with patients was shot through with problems of power, care and responsibility. Here, the leading French neurologist Charcot examines the relation between seizures and sound (perhaps with the same patient photographed in Image 1). The illustration speaks to the particular gender politics of male physician and female patient and to emerging cultures of bodily display, the latest incarnations of which can be found in the ‘body spectacle’ genre of medical television. © Bibliothèque nationale de France (BnF).
BT 43/414/306159. This textile design was sold as a roller-printed cotton by Liberty’s department store in Regent Street, a key force in popularising the Aesthetic style, from the late 1880s onwards. It was revived in 1975 and is still used in a range of artefacts by the store under the name Hera. However, the design represents something of a mystery. It is usually attributed to Arthur Silver at the Silver Studio, but the sample at The National Archives was registered in 1876, several years before the Silver Studio was established in 1880, calling this attribution into question.
“The interahamwe militia broke into this school in March 1997 and asked the students to separate into Hutu and Tutsi. This was three years after genocide. The students responded: ‘We are all Rwandans’. Then the men began shooting.
Six students were killed in their classroom. They have become national heroes.”
Ep01-630. © 2013 Adrienne Livesey, Elaine Ryder and Irene Brien.
Another nicely-composed shot, of factory hands gathered outside a plant office, probably taken from inside the printing department. British American Tobacco was the republican Chinese state’s single biggest taxpayer. It faced stiff competition in the cigarette market from Chinese-owned firms, which marketed their wares as ‘National Products’, and labelled buyers of British or other foreign goods as unpatriotic. Labour relations in Pudong could be difficult too because the area – and the unions – were largely controlled by very powerful gangsters.
M. Lannois, “Dermographisme chez des épileptiques atteints d’helminthiase intestinale”, 1901. Look carefully: the woman pictured has her name scratched into her chest and back. The writing was probably done by her physician. Angeline Donadieu was an epileptic patient at the turn of the twentieth century. She is exemplifying a particular condition known as dermographism – skin that retains the imprint of marks traced onto it. Yet the image speaks most powerfully of the relation between medical and personal identity. © Wellcome Library, London. Creative Commons CC-BY.
Registered by Jeffrey & Co on 28 May 1879. Christopher Dresser was a prolific designer, working across most areas of the decorative arts. He wrote a number of influential works on design and design theory, but unlike proponents of the Arts and Crafts Movement embraced mass production. Like Pugin and other designer reformers, Dresser believed in using nature as the basis of ornament. Trained as a botanist, he pioneered the concept of ‘artistic botany’, contributing a plate to his former tutor Owen Jones’ book The Grammar of Ornament. Like Jones, Dresser believed that representations of nature should be ‘conventionalised’ rather than naturalistic, as shown in this design featuring stylised cornflowers.
“When the killings happened I was twelve years old. At the time there was a bad environment with people coming back from Congo into the forests near here. I lived nearby so I heard the shooting.
Much later I became a teacher here. Today we have three hundred students.”