Recently I seem to have had a lot of sneak previews of things I find exciting. Last week, I visited the Art & Design archives at Birmingham City University (where I work). The contents include the Birmingham School of Art archives, and the archivist had contacted me to say:
We have some 60+ historical studies, a large number of which are of medieval scenes with a strong Pre-Raphaelite influence. However, we also have examples of stained glass designs, designs for metalwork and jewellery, illustrated books, calligraphy and greetings card designs that show just how influential the Arts and Crafts tradition was at the School of Art in the late nineteenth century.
This was enough for me to be very keen, but the contents are broader than this:
Our largest collection is the School of Art’s own archive, which contains a significant number of student artworks in a wide variety of genres, including metalwork, jewellery and stained glass designs, mind and memory drawings, exercises in creating patterns, illustrated books, calligraphy, work produced by students of the School of Printing under the direction of Leonard Jay, fashion designs and botanical illustrations as well as examples of fine art – portraits, life drawings, historical studies featuring medieval legends, etc. The collection is strongest for the Arts and Crafts period, i.e. 1880-1920. We also have a large collection of London Transport posters which have already attracted the attention of colleagues from Visual Communication.
I was really struck by the amazing breadth of works by Florence Camm. Clearly a great deal of her work was preserved for some reason, and there were numerous sketches and cartoons for stained glass (for which she is most famous). A true daughter of the city, living in Smethwick throughout her long life (1874-1960), she was born into a family of stained-glass makers, and despite being a woman was encouraged to study, work and exhibit, which she did prolifically. The Birmingham Municipal School of Art, as it was then, was receptive to female students and permitted her more or less the same opportunities as the male students. The works of hers in the archives demonstrate her growing skills at draughtsmanship – you can see how she struggles with certain aspects of her drawings, for examples, and how over time she improves. Camm’s wonderful stained glass can be seen at Birmingham Museum & Art Gallery (see below: the Dante and Beatrice windows) as well as in churches across the West Midlands.
The strong Pre-Raphaelite influence on her work can be seen here, as in her other works, though some seem to be gesturing towards a more Modernist approach.
There are some wonderful calligraphic pieces by unknown students, with illuminated letters (annoyingly I don’t have images to share); many of the quotations are from Ruskin, Shelley and Tennyson, and the ornate borders, gold leaf overlaid for a 3-dimensional effect, are startling to see, their colours still strikingly bright. I’m also interested to know that there are photographs of student life in the early 20th century, including a wonderful common room (sketches of designs for the walls are also in the archive, and they are beautiful period pieces).
More information about the archives, including how to book a visit, can be found here. Do go and see them if you’re interested; there is so much scope for new research to be done here. There is also a brilliant blog about the different ways the archive has been used in teaching and research.
[…] However, she went on to become a Catholic nun, in an enclosed order, though continuing to design stained glass in a studio in the convent. She was educated at the Birmingham School of Art, where she imbibed the Arts and Crafts principles which are also apparent in the work of other stained glass makers such as Florence Camm. (In fact some of the images used in the exhibition come from the Birmingham City University Art & Design archive, which I have recently been exploring). […]