1 00:00:17,390 --> 00:00:23,540 Hello. My name is Jessica Sutcliffe and I'm the daughter of photographer Helen Muskrat. 2 00:00:23,540 --> 00:00:29,090 This paper describes my research and the development of the book I wrote about my mother. 3 00:00:29,090 --> 00:00:40,160 This one here. It underlines my subsequent efforts to put together and to find a home for the headed Muskrat archive. 4 00:00:40,160 --> 00:00:47,900 The research began with gathering documents, letters, photographs and negatives which lay scattered about the house, 5 00:00:47,900 --> 00:00:54,200 the house being the house that I presently live in and the house that my mother lived in towards the end of her life, 6 00:00:54,200 --> 00:00:58,730 and also the house that her parents bought in 1933. 7 00:00:58,730 --> 00:01:08,210 So you can imagine the amount, the accumulation of stuff in that house, including all my mother's archive, which is not going to the vault, Lynn. 8 00:01:08,210 --> 00:01:12,440 My mother rarely threw things away and I unearthed over 2000 prints, 9 00:01:12,440 --> 00:01:20,300 many of which had been printed by Helen herself for the purpose of display in her various shop windows and passages. 10 00:01:20,300 --> 00:01:28,280 I very soon realised that I was in possession of a vast amount of material which would eventually need a permanent home. 11 00:01:28,280 --> 00:01:36,680 Before I start. I have been asked to tell you a bit about myself, and it is interesting to note how huge my mother's influence was on my life. 12 00:01:36,680 --> 00:01:46,700 I was a diligent schoolgirl. I went to school in Oxford at Milham Ford School, and my decision to study architecture was strongly supported by her. 13 00:01:46,700 --> 00:01:56,090 She was very happy about my marriage and I went on to have three children, as she had done while carrying on a career as a self-employed architect. 14 00:01:56,090 --> 00:02:02,240 Later, she offered to pay for me to do an M.A. in building conservation at York University, 15 00:02:02,240 --> 00:02:09,230 thereby fulfilling an even greater maternal ambition to immerse myself in building conservation. 16 00:02:09,230 --> 00:02:16,200 When I retired, we moved from Hebden Bridge in Yorkshire to Swanage to live in her old family home. 17 00:02:16,200 --> 00:02:21,560 I at last had time to spare and decided to write a book about my mother featuring her 18 00:02:21,560 --> 00:02:28,040 amazing photographs and a memoir of her life all the time when I was writing my book. 19 00:02:28,040 --> 00:02:32,630 I was conscious that we needed to find a home for the archive. 20 00:02:32,630 --> 00:02:38,210 It is hard to pinpoint the moment when I realised the importance of producing a book about my mother. 21 00:02:38,210 --> 00:02:43,250 But the idea of writing about her life started in Shimla in India. 22 00:02:43,250 --> 00:02:50,510 I went there with my husband Robyn in 2006. We had been on a study tour to Delhi and the Grah, 23 00:02:50,510 --> 00:02:56,390 organised by York University's Department of Conservation Studies, where I was teaching at the time. 24 00:02:56,390 --> 00:03:00,380 We decided to extend our visit by going to see the place where my mother was. 25 00:03:00,380 --> 00:03:04,790 A little girl had spent her summers armed with an old family album. 26 00:03:04,790 --> 00:03:13,580 We sought out the places where she lived in 1911. We identified most of them almost unchanged after 100 years. 27 00:03:13,580 --> 00:03:19,110 I began to think about her life until we realised what an interesting story there was to tell. 28 00:03:19,110 --> 00:03:25,430 And I wrote a diary about our journey. Germination took another six years. 29 00:03:25,430 --> 00:03:32,240 In 2012, I was told that my daughter in New Zealand waiting for her first child to arrive. 30 00:03:32,240 --> 00:03:34,880 Robin had gone off to Japan for a week on business, 31 00:03:34,880 --> 00:03:43,220 and I found myself fearing intensely lonely in a little bungalow surrounded by abandoned dwellings damaged by the recent earthquake. 32 00:03:43,220 --> 00:03:49,310 I started to jot down some of the personal memories of my childhood, my relationship with my mother, 33 00:03:49,310 --> 00:03:54,230 and piecing together the events of her life as far as I knew about them. 34 00:03:54,230 --> 00:03:59,450 I realised for the first time that I enjoyed expressing myself through writing. 35 00:03:59,450 --> 00:04:06,380 But before I describe my subsequent journey, it is necessary to provide a short story of her life. 36 00:04:06,380 --> 00:04:11,120 Helen was born in India, the daughter of a soldier in the Indian army. 37 00:04:11,120 --> 00:04:19,670 As you can imagine, Colonial Life involved frequent visits to photographers to record family events for the folks back home. 38 00:04:19,670 --> 00:04:26,150 When the family returned to live in England, they regularly visited photographer Constance Ellis and Gilford, 39 00:04:26,150 --> 00:04:31,790 who took this charming photograph of Helen and her sister, Joan. 40 00:04:31,790 --> 00:04:39,410 During subsequent sittings, she inspired hand study photography at the Regent Street Polytechnic. 41 00:04:39,410 --> 00:04:50,270 While studying there, she photographed her aunt, the violinist May Hope, which already demonstrated a mature approach to portraiture. 42 00:04:50,270 --> 00:04:56,150 Helen was also influenced by Francis Newbery, the retired head of the Glasgow School of Art, 43 00:04:56,150 --> 00:05:03,920 who had commissioned his pupil, Charles Rennie Mackintosh, to design his new school of art in Glasgow. 44 00:05:03,920 --> 00:05:08,330 These photographs were taken in 1930, when she was only 20. 45 00:05:08,330 --> 00:05:11,780 Francis and his wife Jessie, had retired to coach. 46 00:05:11,780 --> 00:05:20,960 Castle became family. Friends near my mother's own words taught me all I know about art. 47 00:05:20,960 --> 00:05:30,270 Helen opened her first studio in Swanage in 1929 and immediately caught the eye of the Professional Photographer magazine who described her. 48 00:05:30,270 --> 00:05:36,240 Work has shown great versatility of ideas and technique. 49 00:05:36,240 --> 00:05:43,740 In 1932, from Newberry introduced her to Lettuce Ramsey, whose husband, Frank, a brilliant Cambridge mathematician, 50 00:05:43,740 --> 00:05:50,130 had recently died, leaving her with two young daughters shown in this photograph by Helen. 51 00:05:50,130 --> 00:05:56,700 She was looking for interesting work. And together they decided to set up a second studio in Cambridge. 52 00:05:56,700 --> 00:06:05,610 The firm Ramsey and Muskrat was established. Helen was now mixing with a vibrant set of idealistic intellectuals during term time 53 00:06:05,610 --> 00:06:14,520 and returning to Swanage for the summer months where business was flourishing, as Lettice described it in an article in the Sunday Times. 54 00:06:14,520 --> 00:06:19,500 Helen had to know how, and I had the Connexions. 55 00:06:19,500 --> 00:06:26,680 A chance viewing of man raised satirised photographs at a magazine led to experiments with this technique. 56 00:06:26,680 --> 00:06:34,210 Soler ization involved the momentary exposure of negatives to light during the development process, 57 00:06:34,210 --> 00:06:43,240 giving on giving Annenberg use of effect of positive and negative with a dark outline to enhance the image. 58 00:06:43,240 --> 00:06:51,910 They also played with other techniques, such as multiple exposure drill graphs, using fabrics to enhance the image. 59 00:06:51,910 --> 00:06:56,230 The results were truly original and exciting. 60 00:06:56,230 --> 00:07:05,000 This photograph of the surrealist artist only Nagar, lying with her head over the arm of the sofa was taken in Swanage. 61 00:07:05,000 --> 00:07:14,950 And this is one of my mother's most celebrated images. Helen was also pursuing an interest in documentary photograph photography. 62 00:07:14,950 --> 00:07:21,010 She visited the Soviet Union in 1936, travelling to Leningrad and Moscow, 63 00:07:21,010 --> 00:07:27,850 and then boarded a steamer to travel down the Volga to Ukraine to look at state and collective farms. 64 00:07:27,850 --> 00:07:38,980 The following year, Helen spent time in the Welsh mining Malet Valiance, where she recorded memorable images of poverty, unemployment and resilience. 65 00:07:38,980 --> 00:07:43,840 The 1930s proved to be the most creative period of their working life when the two women 66 00:07:43,840 --> 00:07:51,070 photographers sparking off each other produced most of their important and best known work. 67 00:07:51,070 --> 00:08:00,660 Eventually, Helen opened a studio in Oxford. While that is, RAMSI remained in Cambridge, they each held an exhibition of their work in their studios, 68 00:08:00,660 --> 00:08:06,660 advertised with striking modernist images now married to Jack. 69 00:08:06,660 --> 00:08:15,640 Gunmen committed but poorly paid Communist Party organiser. A joint decision was made that she should become the main breadwinner. 70 00:08:15,640 --> 00:08:25,660 The war interviewee intervened, and pressures of work, together with raising three children left little time for experimentation and documentary work. 71 00:08:25,660 --> 00:08:34,510 Both Helen and letters turned to conventional studio life and supporting their families for the next 40 years. 72 00:08:34,510 --> 00:08:42,400 Helen ran her studio in Coal Market, Oxford, and became established as a remarkable portrait photographer. 73 00:08:42,400 --> 00:08:51,130 This photograph of novelist Naomi Mitchinson was taken in the studio while this one of Lord and Lady Beveridge, 74 00:08:51,130 --> 00:08:58,360 being interviewed by ABC Television in 1956, was taken in the home. 75 00:08:58,360 --> 00:09:08,920 Both Leches and Helen retired the same year in 1977. These photographs of each in their own studios by John Lawrence Jones appeared in 76 00:09:08,920 --> 00:09:16,990 the Sunday Times magazine just before the studios were closed in some in 1978. 77 00:09:16,990 --> 00:09:20,850 Books were being written about the notorious Cambridge spies. 78 00:09:20,850 --> 00:09:28,330 Lettice Ramsey knew many of them, and her photographs of Burgess and MacLane appeared in Sun newspaper magazines. 79 00:09:28,330 --> 00:09:34,720 However, it was not until the 1980s that real interest was shown in the work of Ramsey and Muskrat. 80 00:09:34,720 --> 00:09:43,030 This was largely thanks to Val Williams, who was commissioned by the National Museum of Film and Photography in Bradford to write a book. 81 00:09:43,030 --> 00:09:51,820 Women Photographers. The Other Observers. Nineteen hundred two, 1950. 82 00:09:51,820 --> 00:10:01,390 This feature, the work of Helen Muskrat, but she was irritated to find that her famous photograph on the front of the book was printed upside down. 83 00:10:01,390 --> 00:10:10,090 The book was accompanied by an exhibition in Bradford which travelled to the photographer's gallery in London and elsewhere around the country. 84 00:10:10,090 --> 00:10:12,700 There followed a TV series for Channel four, 85 00:10:12,700 --> 00:10:21,400 five women photographers and a further half hour programme about Helen Musselburgh, the BBC series Women of Our Century. 86 00:10:21,400 --> 00:10:28,810 In both programmes, she was filmed in her filmed in her dining room with her prints spread randomly on the table in front of her, 87 00:10:28,810 --> 00:10:34,600 picking out examples to illustrate her points. This is a picture of Helen. 88 00:10:34,600 --> 00:10:43,780 Taken in the early thirties by Lettice Ramsey, it shows a confident and modern young woman following her own chosen career. 89 00:10:43,780 --> 00:10:50,470 There is little doubt that all this interest in women photographers was also inspired by the women's movement. 90 00:10:50,470 --> 00:10:53,440 Most the people who interviewed Helen were young women, 91 00:10:53,440 --> 00:11:01,300 and they were interested to know how she managed to combine an artistic life with running a business and bringing up a family. 92 00:11:01,300 --> 00:11:07,630 They wanted to know about the barriers she had encountered and whether she had been motivated by feminism. 93 00:11:07,630 --> 00:11:11,800 She was somewhat mystified and amused. There were no barriers. 94 00:11:11,800 --> 00:11:17,020 She just got on with it. Sometimes it was an advantage to be a woman. 95 00:11:17,020 --> 00:11:18,250 But later in life, 96 00:11:18,250 --> 00:11:27,130 she acknowledged that agreeing to be come the main breadwinner in order to further the cause of socialism had been at a considerable personal cost, 97 00:11:27,130 --> 00:11:34,750 both to her creativity and emotional energy. My mother was not becoming a minor celebrity. 98 00:11:34,750 --> 00:11:40,230 At last, her work was accepted as an important contribution to the world of photography. 99 00:11:40,230 --> 00:11:48,640 A further happy outcome of all this activity was such a great deal of material never existed in her own words, 100 00:11:48,640 --> 00:11:52,060 which would provide invaluable information for me to draw on. 101 00:11:52,060 --> 00:11:57,550 In writing the book, not only did I have recordings of her TV interviews, 102 00:11:57,550 --> 00:12:01,630 but also eight hours of recorded conversations between my mother and Val 103 00:12:01,630 --> 00:12:10,090 Williams made for the Oral History Photography Project for the British Library. 104 00:12:10,090 --> 00:12:14,800 My research began with chyme combing through all this information. 105 00:12:14,800 --> 00:12:19,180 It was a strange experience to watch her on the screen and to listen to her voice. 106 00:12:19,180 --> 00:12:28,240 Ten years after her death, I also sought out interviews with numerous people who had known Helen or had shown an interest in her work. 107 00:12:28,240 --> 00:12:34,150 I started with the women who worked with her in her coal market studio who were still living. 108 00:12:34,150 --> 00:12:39,640 They described a convivial, everyday life of the business, the way she conducted sittings, 109 00:12:39,640 --> 00:12:48,900 overhearing her conversations with customers from behind the curtains, which divided the studio from the work room and the hard work in the darkroom. 110 00:12:48,900 --> 00:12:55,570 And before Christmas, before Christmas and their fondness for their employer, 111 00:12:55,570 --> 00:13:00,100 I spent many hours in the Library of the National Museum of Film and Photography in Bradford. 112 00:13:00,100 --> 00:13:02,320 Now the National Media Museum. 113 00:13:02,320 --> 00:13:09,850 Reading through the photographic magazines of the thirties and discovering references to and examples of my mother's work, 114 00:13:09,850 --> 00:13:15,280 they included an important nude with a nude with a hoop taken at the Swanage studio 115 00:13:15,280 --> 00:13:21,790 and previously unknown to me when working on the first chapters of the book. 116 00:13:21,790 --> 00:13:31,480 I was contact contacted by Duncan Forbes', curator of photography at the National Galleries of Scotland, who came to see my collection of photographs. 117 00:13:31,480 --> 00:13:38,200 I also visited him in Edinburgh to see his wonderful exhibition of photographs by eight is due to Heart. 118 00:13:38,200 --> 00:13:42,130 He was one of the first to convince me about the importance of writing about Helen. 119 00:13:42,130 --> 00:13:48,930 I was hugely supportive in my endeavour. I also made contact with letters Ramsey's grandson, 120 00:13:48,930 --> 00:13:56,530 who had a small but valuable collection of images of some of her favourite people from the early Cambridge days. 121 00:13:56,530 --> 00:14:05,080 They included one of her lovers, Julian Bell, who had introduced her to Bloom Bloomsbury set family at Charleston. 122 00:14:05,080 --> 00:14:10,630 It was an exciting time. So many fascinating memories and stories emerged. 123 00:14:10,630 --> 00:14:15,880 I talked to Peter Luft, who had taken over the Cambridge studio with its entire collection of prints, 124 00:14:15,880 --> 00:14:23,950 negatives, many dating from the 30s when Ramsey and Muskrat carried out so much pioneering work. 125 00:14:23,950 --> 00:14:33,280 He has a useful website featuring portraits of the famous Cambridge intellectuals I photographed in the 1930s. 126 00:14:33,280 --> 00:14:40,930 One of my most rewarding meetings with was with Anthony Penrose at his family home, Farly Farmhouse. 127 00:14:40,930 --> 00:14:47,500 I had been captivated by his book about his mother, the lives of Lee Miller, an extraordinary photographer, 128 00:14:47,500 --> 00:14:55,270 and her extraordinary life story, which could only have been written with such knowledge and intimacy by her own child. 129 00:14:55,270 --> 00:15:04,210 It gave me great encouragement to find that one could combine a fantastic album of photographs with a vivid memoir of the artist. 130 00:15:04,210 --> 00:15:10,000 Anthony was kind enough to allow me to model my book on his and to follow progress. 131 00:15:10,000 --> 00:15:18,760 As the finished article emerged with several chapters draughted and beginning to select the accompanying illustrations. 132 00:15:18,760 --> 00:15:27,460 I realised I wanted the book to be designed in a distinctive manner and was fortunate to choose graphic designer Alan Ward based in Manchester, 133 00:15:27,460 --> 00:15:29,230 whose work we already knew and did. 134 00:15:29,230 --> 00:15:37,750 But I was living in Wakefield at the time and it was easy to drive across the Pennines to Manchester for regular meetings. 135 00:15:37,750 --> 00:15:45,340 Allen had worked closely with the Manchester University Press and suggested that we approached them with a view to publishing the book. 136 00:15:45,340 --> 00:15:51,600 I had failed to interest suitable publishers such as Virago and Temp's Hudson. 137 00:15:51,600 --> 00:16:00,160 I was intending to self publish, but here was another stroke of luck to be backed by a prestigious university publishing house. 138 00:16:00,160 --> 00:16:06,160 I did academic recognition to a project which might easily have been dismissed as amateur. 139 00:16:06,160 --> 00:16:13,540 They also provided other professional inputs, such as editing and indexing. 140 00:16:13,540 --> 00:16:21,650 Gradually, the book became a reality. As chapters emerged and illustrations were added, each page carefully designed. 141 00:16:21,650 --> 00:16:30,010 My work in partnership with Ireland culminated with a visit to get it to the chosen printers to watch the pages roll off the press. 142 00:16:30,010 --> 00:16:35,170 Assess the quality of the print and sign each other off on the 3rd of November. 143 00:16:35,170 --> 00:16:40,060 Twenty fifteen. The book was born. 144 00:16:40,060 --> 00:16:47,290 I was now able to approach the world armed with a copy of the book, which surpassed all my expectations and established a book. 145 00:16:47,290 --> 00:16:54,550 Helen must but something to be taken notice of and disseminated. 146 00:16:54,550 --> 00:17:03,700 I was now convinced that I might be able to persuade galleries and institutions to consider exhibitions and set about trying to make this happen. 147 00:17:03,700 --> 00:17:11,380 There had already been small exhibitions of foot photographs in Swanage shown here Halifax and Hebden Bridge, 148 00:17:11,380 --> 00:17:17,860 but I felt that it was time to interest the major players, some of whom already had collections of her work. 149 00:17:17,860 --> 00:17:24,040 I sent out copies of the book to the National Portrait Gallery, the Tate, the Victoria and Albert Museum, 150 00:17:24,040 --> 00:17:29,930 the Photographers Gallery Kettle's Yard in Cambridge and the Ashmolean in Oxford. 151 00:17:29,930 --> 00:17:34,750 And many were followed up with meetings while nothing came directly from this. 152 00:17:34,750 --> 00:17:42,980 I was still convinced that one day something would happen and continue to pursue venues and promote the book. 153 00:17:42,980 --> 00:17:50,410 Notwithstanding rejections and disappointment, another piece of fortunate serendipity occurred when the Pellant Palant House 154 00:17:50,410 --> 00:17:56,200 gallery in Chichester agreed to put on a small exhibition in that print room. 155 00:17:56,200 --> 00:17:57,760 I had previously that one or two. 156 00:17:57,760 --> 00:18:07,240 Matt Ramsey and must print images for their exhibition about the Spanish Civil War and director Simon Martin recognised the quality of their work. 157 00:18:07,240 --> 00:18:13,360 This important photograph by Lettice Ramsay is a Ray Peters and the Marxist poet John Cornford. 158 00:18:13,360 --> 00:18:19,960 A year before he was killed fighting with the International Brigade on his 21st birthday and 159 00:18:19,960 --> 00:18:27,730 this of Basque refugee children arriving on the docks at Southampton was photographed by Helen. 160 00:18:27,730 --> 00:18:31,630 There were nearly 4000 children arrived on that boat. 161 00:18:31,630 --> 00:18:43,870 And it's very interesting to come trust the fact that they were allowed to arrive in this country with our present government's attitude to refugees. 162 00:18:43,870 --> 00:18:47,090 The exhibition coincided with publication of the book, 163 00:18:47,090 --> 00:18:56,400 and I was able to benefit from the excellent publicity department's promotion of both the exhibition and the book. 164 00:18:56,400 --> 00:19:03,630 It has taken some time to mention, again, the Helen Muskrat archive. But throughout all this activity, the problem was lurking. 165 00:19:03,630 --> 00:19:07,050 What should I do about all this stuff? 166 00:19:07,050 --> 00:19:13,200 I was by now fully retired and living in her house and Swanage, the lovely rambling old house overlooking the sea. 167 00:19:13,200 --> 00:19:22,050 Her parents had bought in 1933 in numerous dilapidated sheds, garages, attics and dusty corners were scattered. 168 00:19:22,050 --> 00:19:28,300 30 year old to get tins. Tin biscuit, yes, biscuit tins full of negatives. 169 00:19:28,300 --> 00:19:38,910 The card indexes of 30000 sitting's boxes of cameras, portfolios of friends, family snaps, letters, articles, paraphernalia. 170 00:19:38,910 --> 00:19:44,280 Friends and colleagues kept telling me it all needed to be kept sorted and archived. 171 00:19:44,280 --> 00:19:50,000 And I was anxious not to leave it all for my children to deal with. 172 00:19:50,000 --> 00:19:59,690 The solution came as with so much of this story, through another important contact at the open of the Palant exhibition, I was greeted by Colin Ford, 173 00:19:59,690 --> 00:20:08,750 who had been director of the photographic museum and met Ben Bradford in 1986 and oversaw the exhibition of women's photography. 174 00:20:08,750 --> 00:20:13,780 He remembered Helen well from all the openings, visits and conferences connected with it, 175 00:20:13,780 --> 00:20:17,810 and was delighted to discover that she was again being recognised. 176 00:20:17,810 --> 00:20:27,140 We exchanged books mine on Helen Muskrat, and here's a wonderful book on the early photographer Julia Margaret Cameron. 177 00:20:27,140 --> 00:20:31,850 He attended a lecture I gave in Cambridge and we ate together afterwards. 178 00:20:31,850 --> 00:20:37,430 I explained that I was now turning my attention to securing a home for the archive. 179 00:20:37,430 --> 00:20:44,900 Why don't you try the BUTLIN? I know that they are interested in acquiring wealth collections of photography. 180 00:20:44,900 --> 00:20:53,030 I had already sent a copy of my book to the director, Richard Ovenden, and he had complimented me on its content and design. 181 00:20:53,030 --> 00:20:56,300 But I was not expecting the welcome I received. 182 00:20:56,300 --> 00:21:02,420 A meeting was arranged and yes, he would like the archive to come to the board and all of it, all the prints. 183 00:21:02,420 --> 00:21:12,830 However small and insignificant, all these disintegrating tins of negatives, all the letters and papers, please don't throw anything away. 184 00:21:12,830 --> 00:21:13,460 Moreover, 185 00:21:13,460 --> 00:21:22,880 he was hoping that an exhibition could be arranged to celebrate the acquisition and the generous foyer space of the newly refurbished Western Library. 186 00:21:22,880 --> 00:21:25,820 Robin and I were working, walking on air. 187 00:21:25,820 --> 00:21:31,910 How amazed Helen would have been to know that her work would be treasured in a world famous library in Oxford, 188 00:21:31,910 --> 00:21:36,530 where she had spent so much of her working life. 189 00:21:36,530 --> 00:21:42,830 The catch came when I realised just how much work I faced before I could assemble and send all this material. 190 00:21:42,830 --> 00:21:47,360 Two and a half years elapsed before I could dispatch the final boxes. 191 00:21:47,360 --> 00:21:52,280 I felt that I had responsibilities to sort out the material and realised that I was 192 00:21:52,280 --> 00:21:57,740 the person best placed to categorise and arrange all the 2000 prints into boxes, 193 00:21:57,740 --> 00:22:05,810 put names and dates to some of them and decipher the numerous notes scribbled on the back of my mother in old age. 194 00:22:05,810 --> 00:22:10,850 She realised that in the future someone somewhere might want to know. 195 00:22:10,850 --> 00:22:15,980 This will not be the final version of the catalogue, but it should make someone else's task easier. 196 00:22:15,980 --> 00:22:22,230 The archive is properly recorded by staff at the Bogalay. 197 00:22:22,230 --> 00:22:30,090 And so what started out as a few scribbles and memoirs in 2012 turned out to be a major personal project. 198 00:22:30,090 --> 00:22:36,720 Sometimes I felt overwhelmed by it all. But the journey has been fascinating for beginning to end. 199 00:22:36,720 --> 00:22:43,860 No, not the end, because it continues. I am particularly aware that justice has yet to be given to Helen's partner. 200 00:22:43,860 --> 00:22:45,300 That is Ramsey. 201 00:22:45,300 --> 00:22:55,350 Both regard to her work, her unconventional life and the collection of the Cambridge studio, which will eventually reside with the Cambridge Library. 202 00:22:55,350 --> 00:23:00,210 I have met so many wonderful people on the way and learnt so much about photography. 203 00:23:00,210 --> 00:23:02,510 My mother and her art. 204 00:23:02,510 --> 00:23:12,270 The crowning achievement is to know that her archive will sit safely alongside so many important historic documents and to be available to all. 205 00:23:12,270 --> 00:23:20,350 We still have to pinch ourselves when we remember what has been achieved, particularly with regard to the body and archive. 206 00:23:20,350 --> 00:23:34,100 Thank you.