Soldiers and Suffragettes: The Photography of Christina Broom

Me outside the Museum of London Docklands, contributing to the #museumselfie Twitter hashtag (Photo: Hannah Awcock).
Me outside the Museum of London Docklands, contributing to the #museumselfie Twitter hashtag (Photo: Hannah Awcock).

Soldiers and Suffragettes: The Photography of Christina Broom is a temporary exhibition at the Museum of London Docklands in Canary Wharf, open until Sunday the 1st of November. I went along because not only did Christina Broom photograph the campaign for female suffrage in the early twentieth century, she was also an impressive woman in her own right, as the first female British press photographer. The exhibition is worth checking out if you are interested in photography or social history, as well as the two main topics; Brooms photography of the suffrage movement and the armed forces.

In 1903 at the age of 40, Christina Broom noticed the increasing popularity of postcards, and began photographing local views and events in order to produce her own. Her husband had never fully recovered from an injury acquired during a game of cricket, and she took up photography to provide for her family. For the next four decades Broom hauled her heavy camera and tripod back and forth across London documenting the city and its people. Soldiers and Suffragettes is the first exhibition devoted solely to Broom’s work, and aims to share her story so she can receive some of the appreciation she deserves.

Suffragette March in Hyde Park
by Mrs Albert Broom (Christina Livingston)
cream-toned velox print, 23 July 1910
NPG x17396

Because of my own interests I was mostly drawn to Broom’s photos of the suffrage movement, but I also found her military photography engaging. Broom was trusted by the soldiers, and she photographed many before they left to take part in the First World War. The photos of soldiers with their families on the platforms at Waterloo Station are particularly moving. The knowledge that this might have been the last time the men ever saw their loved ones is haunting, and the fact that Broom was allowed to capture these significant moments is an indication of how good she was at her job.

Broom’s pictures of the suffrage campaign are wonderful. She photographed campaigners both famous (including the Pankhursts) and obscure, capturing the sheer number of people involved. It is easy to think that Emmeline and Christabel Pankhurst won the vote for women single-handed, but this is far from the case. Broom’s photos depict many of the organisations involved in the campaign, including the National Union of Women’s Suffrage Societies, and the Women’s Freedom League, led by the incredible Charlotte Despard.

A photograph of Charlotte Despard taken by Christina Broom (Sources: National Portrait Gallery).
Charlotte Despard (née French)
by Mrs Albert Broom (Christina Livingston)
cream-toned velox print, 1908-1910
NPG x13391
© National Portrait Gallery, London

The exhibition also highlights the economics of the suffrage campaign. Although a supporter of female suffrage, Broom’s main reason for photographing the movement was financial. Supporters of female suffrage would collect memorabilia, the proceeds of which helped to fund campaigning. The WSPU had their own shops, in which they sold everything from postcards like the ones Broom produced to tea sets designed by Sylvia Pankhurst. The exhibition also includes photos of fairs held by various suffrage groups. One of the purposes of these fairs was to raise money. For example, at the Women’s Exhibition in Knightsbridge in 1909, a replica prison cell was constructed. Visitors were charged 6d to see inside and hear about what life was like for suffragettes in prison. The economics of social movements is something that I think gets frequently overlooked, so it was good to see it so prominent in Soldiers and Suffragettes.

Soldiers and Suffragettes is an exhibition that appeals on a whole range of levels. I even enjoyed the section about the technology of developing and printing the images- the backlit negatives of Broom’s photos were beautiful, making the Suffragettes look like vibrant ghosts. I would definitely recommend checking it out over the new few weeks before it closes.

Not only was Christina Broom a pioneer, leading the way for other female professional photographers, she was also very talented. Her images are moving and personal, as well as a fantastic record of a dynamic period in London’s history.

‘Archaeology by Twilight’ at the Museum of London Archaeological Archive

2014-07-17 19.03.23
Archaelogy by Twilight at the Museum of London Archaelogical Archive (Photo: Hannah Awcock).

Last Thursday, I went to the ‘Archaeology by Twilight’ open evening at the Museum of London Archaeological Archive in Hackney. Part of a summer series of tours and events at the archive, the evening included tours, displays of items, spoken word performances and a bar. The archive holds information on almost 8,500 archaeological sites that have been investigated in Greater London over the past century, including many of the items found ( With a huge variety of items, from human remains, medieval hairnets, cars and carriages to board games, horns, and Roman pots, it was a fascinating evening.

My favourite part of the evening was an atmospheric tour around the ceramics and glass archive, with the lights switched off and the chanting of medieval monks playing in the background. Armed with torches, we were let loose amongst the rows of cabinets and shelves, to gaze at pottery that was, in some cases, more than 2,000 years old. Once I got over the sensation that this was exactly how an episode of a murder mystery drama would start, I was struck by the sheer volume of material, each item with a story to tell about London’s past. The further we moved away from the door, towards the back of the room, the further back in time we went, to the Romans and beyond. I’m not ashamed to admit that I was very excited to see so much history in one room!

For me, the evening highlighted the process of museum exhibits. Displays and exhibitions in museums have the air of being complete, an accurate record of the past. This glimpse ‘behind the scenes’ suggested how much work goes into curating an exhibit in a museum. Most of the items in the archive will probably never go on display, what a visitor sees in the galleries of the Museum of London is just a fraction of everything that they hold. One of the most fundamental lessons I have learnt since starting my university education as an undergraduate is to question everything, to take nothing at face value. But I still find myself overlooking things, and welcome being reminded of the complexity and intricacy of seemingly simple things as I was on Thursday evening.

Another element that struck me was the particular materiality of this archive. When imagining archives, most people probably think of documents, records, letters, photos, maps, pieces of paper in various shapes and sizes. And whilst the Archaeological Archive no doubt has this kind of thing too, it also has thousands upon thousands of objects. Listening to the curators on Thursday night it was obvious that huge amounts can be learnt from the collections in the archive. For example, because the volume of material is so large, comparisons can be made between similar objects, leading to more general conclusions about life in London than it would be possible to make from one object. After exploring what the archive has to offer, it’s clear that it does not fit into the stereotypical image of ‘the archive’. Materiality has become a popular topic within geography over recent years, and I can think of at least a few historical geographers who use objects in their research. However I’m sure it is not the sort of research that springs to mind when people think of historical geography (when they think about historical geography at all!). ‘Archaeology by Twilight’ reminded me of the huge variety and potential of archives, which is something I wish that more people knew about!

2014-07-17 20.01.45
The Archaeology by Twilight bar (Photo: Hannah Awcock).