Ep01-004. © 2013 Adrienne Livesey, Elaine Ryder and Irene Brien.
The same year and source: the riverside ‘Bund’, and wide Avenue Edward VII which marked the boundary of the International Settlement, top and the French concession, to the left. The crowded river and the meteorological signal tower remind us that Shanghai was a city on and of the water, a key point in global maritime networks; the imported cars on the streets exemplify its ostentatious modernity. The War Memorial, facing the end of Ave Edward VII locates foreign Shanghai in the European world, but the Shanghai Club, the second building north along the Bund places it in the British orbit, for this was the informal headquarters of the British presence.
EP01-394 ©2013 Adrienne Livesey, Elaine Ryder and Irene Brien.
1932: The beauty of the flight turned ugly: the wreckage of a military aircraft amongst the ruins of Hongqiao airfield, west of the International Settlement, part of the area that bore the brunt of the February 1932 war between Chinese and Japanese forces. Most Europeans supported the Japanese at this point, thinking that Chinese nationalism needed a check. Ephgrave took a camera into these blasted suburbs, recording the harrying of his city's surrounds.
Ep01-736. © 2013 Adrienne Livesey, Elaine Ryder and Irene Brien.
Shanghai industry was often a site of strife, of anti-imperialist activism, and violent responses, as well as struggles over economic issues. BCC was a particular site of unrest. ‘Down with all imperialist running dogs’ starts the hand-written poster on the left, posted during one of a series of strikes in 1933: ‘We demand that the plant implements the Factory Law’ demand the larger characters. The sequence of photographed wall posters of which this was a part, suggests that Ephgrave was probably drawn to the striking visual impression these posters make.
Ep01-279. © 2013 Adrienne Livesey, Elaine Ryder and Irene Brien.
Along with the International Settlement policy, the first line of foreign Shanghai's defence was the Shanghai Volunteer Corps. Ephgrave joined the Armoured Car Company, shown here at the Shanghai Race Club in 1932 preparing to have an official photograph taken. A significant proportion of young British men in particular joined the Corps, regularly parading through the streets, showing the strength of foreign power, and intent, then heading off to the their offices to trade. The irony was not lost on many of them; it was hardly lost on Shanghai Chinese.
Ep01-699. © 2013 Adrienne Livesey, Elaine Ryder and Irene Brien.
Sport – in Ephgrave’s case soccer, golf, and rowing – was embedded in foreign settler culture. Young Jack took many shots of the Shanghai Rowing Club’s activities outside Shanghai at a place dubbed ‘Henli’. The double-exposure may well be accidental, but Ephgrave’s decision to keep the print from it and add it to the albums suggests that he liked the effect.
Ep01-124 © 2013 Adrienne Livesey, Elaine Ryder and Irene Brien.
1930: A crowded Shanghai street during the annual ‘Basket Fair’ which centred on the Jing’an -- ‘Bubbling Well’ – Temple, and which was held on the Buddha’s birthday. Far away from the Bund in feel, but barely a quarter of a mile west, tens of thousands of people thronged the streets and the hundreds of temporary stalls.
EP01-763 © 2013 Adrienne Livesey, Elaine Ryder and Irene Brien.
Street photographer: Three men examine something in front of a shop in one of a series of shots of a busy market district. Ephgrave’s attention seems to have been caught by the silk clothing of the man whose back is to his camera, but he has also caught a lively grin from a smoking passer-by.
Ep01-754. © 2013 Adrienne Livesey, Elaine Ryder and Irene Brien.
What seems to be a river-side embarkation point for people getting to a ferry, or on the sampans on the right. Peddlers are selling snacks to the waiting crowd. The shot suggests the ubiquity of Ephgrave’s day-job’s craft: there is a poster for BCC’s ‘Hatamen’ cigarettes on the wall top left.
Ep01-770. © 2013 Adrienne Livesey, Elaine Ryder and Irene Brien.
There are photographs of friends and family, the oarsmen and the well-turned-out volunteers, but this portrait of a pensive woman haunts us. It is one of a number of such finds in this collection, one family’s private archive, but a distinctive and now uncovered vision of a city’s tangled history.
Owned by Henry Frederick, Prince of Wales (d. 1612). Royal 1 D. ix, f. 45
The Christian Monarch
King Cnut as Benefactor of the Church
The inscription on the left-hand page in this book of the Gospels identifies King Cnut as a benefactor of the monastic community at Christ Church, Canterbury. Having established himself king of England by force, Cnut went to great lengths to justify his rule, and it is plausible that he might have donated this rich book to Christ Church, though there is no record of such a gift. The lavishly framed page to the right marks the beginning of the Gospel of Mark.