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A collection of prints and negatives showcasing the work of Graham Finalyson. The collection includes pictures taken in the UK and around the world and prints produced for an exhibition of his work at the Guardian and Observer Newsroom.

Administrative/Biographical history: Graham Finlayson began his career with the Southampton Echo, moving to the Daily Mail after national service with the RAF. He joined the Guardian in 1959 where he worked for 5 years. Here he was sent abroad on assignments to Borneo, Nigeria and Indonesia. Finlayson went freelance in 1964 and photographed everything from architecture, industry, fashion, sport and travel.

This collection of records of the Guardian newspaper date mainly from the late 1960s onwards. The early records of the Manchester Guardian are primarily held by the John Rylands University Library, University of Manchester.

The bulk of this collection contains records of Guardian News & Media (GNM), the national newspaper division of Guardian Media Group. Established in 1967 as Guardian Newspapers Ltd (GNL), the company purchased the Observer newspaper in 1993 and launched Guardian Unlimited network of websites in 1999 (guardian.co.uk). The company was renamed Guardian News & Media on 16 October 2006. Therefore, while this collection mainly relates to the Guardian newspaper it also includes records of The Observer and guardian.co.uk, where they relate to more than one of the individual newspapers. For example, records relating to GNM marketing activities that relate to the Guardian and The Observer would be found within Guardian marketing records, GUA/9, whereas records relating to purely the Observer would be found with the Observer archive collections (Ref no: OBS).

Prior to the formation of Guardian Newspapers Ltd in 1967 the Guardian editor reported directly into Guardian and Manchester Evening News plc which is now known as Guardian Media Group (GMG). These records can be found within the separate Guardian Media Group collection (Ref no: GMG). Where held, records of The Scott Trust and Guardian Media Group are catalogued separately, see SCT and GMG.

Individual members of staff's papers are often catalogued independently from this corporate record collection.

Administrative/Biographical history: The Manchester Guardian was founded by John Edward Taylor in 1821, and was first published on 5 May of that year. The paper's intention was the promotion of the liberal interest in the aftermath of the Peterloo Massacre and the growing campaign to repeal the Corn Laws that flourished in Manchester during this period.

The Guardian was published weekly until 1836 when it was published on Wednesday and Saturday becoming a daily in 1855, when the abolition of Stamp Duty on newspapers permitted a subsequent reduction in cover price (to 2d) allowed the paper to be published daily.

The Guardian achieved national and international recognition under the editorship of CP Scott, who held the post for 57 years from 1872. Scott bought the paper in 1907 following the death of Taylor's son, and pledged that the principles laid down in the founder's will would be upheld by retaining the independence of the newspaper. CP Scott outlined those principals in a much- quoted article written to celebrate the centenary of the paper: 'Comment is free, but facts are sacred... The voice of opponents no less than that of friends has a right to be heard.' After retiring from an active role in managing and editing the paper, Scott passed control to his two sons, John Russell Scott as manager and Edward Taylor Scott as editor. Realising that the future independence of the paper would be jeopardised in the event of the death of one or the other, the two sons made an agreement that in the event of either's death, one would buy the other's share. CP Scott died in 1932 and was followed only four months later by Edward, so sole ownership fell to JR Scott. Faced with the potential of crippling death duties and the predatory interest of competitors, Scott contemplated a radical move to ensure the future of both the Guardian and the highly profitable Manchester Evening News. He concluded that the only answer was to give away his inheritance, a far-reaching solution which provoked close advisor (and future Lord Chancellor) Gavin Simonds to conclude: 'you are trying to do something which is very repugnant to the law of England. You are trying to divest yourself of a property right'. In June 1936, JR Scott formally passed ownership of the paper to the trustees of the Scott Trust. As well as pledging to ensure the radical editorial tradition of the paper (that the newspaper 'shall be conducted in the future on the same lines and in the same spirit as heretofore', in the words of the founder's legacy), the Scott Trust also has the duty to maintain a secure financial footing for the business: '...to devote the whole of the surplus profits of the Company which would otherwise have been available for dividends...towards building up the reserves of the Company and increasing the circulation of and expanding and improving the newspapers.' These principles remain the only instructions given to an incoming editor of the Guardian.

As the influence of the Manchester Guardian grew beyond its Northern hinterland, a new challenge faced the paper under the editorship of AP Wadsworth, who took over the post in 1944. The limited number of pages in the paper, poor quality of the printing and sometimes peculiar news agenda were once perceived as part of the regional charm of the paper. In comparison to the other papers on Fleet Street, however, the Guardian's eccentric virtues often seemed to be outweighed by its peculiar idiosyncrasies: the absence of horse racing, high-handed moral posturing and woolly leaders. Alongside the Daily Telegraph and the Times, the Guardian lacked resources (despite costing 1d more a day), and an approach to commercial activity that could be charitably described as naive did not help matters. On the first day of the Chatterley trial, the Guardian carried a front page advertisement for the Telegraph 'the paper you can trust', which 'provides all you can want in a newspaper' - and at a cheaper cover price too. The editor of the paper moved to London in 1964, committing the Guardian to an uncertain future in the national market, and shortly afterwards financial problems came to a head. The paper relied heavily on the Manchester Evening News for financial support, and in the mid-60s the threat to the paper's future grew severe enough for the chairman of the Scott Trust, Laurance Scott, to approach the Times to discuss the possibility of a merger. The Times was in a similarly perilous financial situation, and many were of the opinion that there was only room for one competitor to the Telegraph. Eventually the talks came to nothing, but not before a serious examination of the logistics involved had been considered on both sides. Alastair Hetherington, the editor at this time, remained a staunch advocate of the Guardian's independence, and the modern paper owes much to his leadership and vision during this period. Investment in printing and the completion of a move to improved offices in Farringdon in London in 1976 helped consolidate the Guardian's position, aided by an expansion programme that included the revamping of the Guardian Weekly to include content from both the Washington Post and Le Monde.

In the increasingly polarised political climate of the late 1970s and early 1980s the Guardian's position as the voice of the left was unchallenged. The opinion pages were the birthplace of the SDP, and the letters page was where the battle for the future direction of the Labour Party was played out, while the coverage of industrial disputes including the 1984-1985 Miners' Strike defined the paper's position. The status quo among the quality press was irrevocably altered by the launch of the Independent in 1986. Capturing the centre ground between the Guardian on the left and the Times and Telegraph on the right, the Independent attracted big name writers and readers with a modern design and distribution network that made the most of the post-union market. Within a few years the circulation of the Independent rose to within touching distance of both the Times and the Guardian, and the previously stagnant market was provoked into a frenzy of defensive activity to retain readers. In 1988 the Guardian made a bold and innovative attempt to reassert its position on Fleet Street, with a major redesign that began the modern period of success in the history of the paper.

In 1993 the intensely competitive broadsheet market was again thrown into confusion by the reduction of the cover price of the Times, firstly from 45p to 30p, then again in June 1994 from 30p to 20p. As the Times attracted readers, first the Daily Telegraph and then the Independent followed suit, running at substantial losses as they battled to survive. Throughout this period the Guardian remained at full price, investing resources in journalism and distancing itself from the price war through distinctive and innovative marketing, product development and consistently breaking big stories. During these years the paper increased its circulation, remained commercially successful and achieved critical acclaim for both the quality of its journalism and the innovation, both consistently followed by its competitors. The Guardian was at the forefront of the sleaze revelations that contributed to the downfall of the Conservative government in 1997, with a series of investigations into the affairs of Tory MPs, including Jonathan Aitken and Neil Hamilton. Begun under the editorship of Peter Preston and continued when Alan Rusbridger was appointed in 1995, the unmasking of the 'cash for questions' affair and corruption in parliament confirmed the paper's reputation for serious investigative reporting. This reputation was cemented by the collapse of the libel case brought against the paper by former Minister Jonathan Aitken. Following his fateful declaration to fight the case armed with only "the simple sword of truth and the trusty shield of British fair play", the Guardian uncovered crucial evidence that proved Aitken did not pay his own hotel bill at the Paris Ritz as he had claimed. Aitken was convicted of perjury and jailed in June 1999, and the investigations won the Guardian critical acclaim from all sides - including the prestigious Newspaper of the Year Award in both 1997 and 1998.

In 1997 the Guardian became the first national newspaper to appoint a readers' editor, producer of the daily Corrections and Clarifications column. The Guardian Unlimited network of websites was launched in January 1999 and by March 2001 the site had over 2.4 million unique users, making it the most popular UK newspaper website. The website was renamed guardian.co.uk in 2008.

On September 12 2005 the new Berliner Guardian launched, with a ground-breaking design in a mid-size format. The Guardian became the UK's first full-colour national newspaper, and the first UK national newspaper ever to adopt this size. The new format paper won the best designed national newspaper in Europe at the European Newspaper Awards in 2005 and the award for the world's best- designed newspaper from the Society of News Design in 2006.

At the end of 2008 the Guardian moved from Farringdon to a new building in King's Cross.
Creator: The Guardian (1821-)
Creator: Guardian Newspapers Ltd (1967-2006)
Creator: Guardian News & Media Ltd (2006-)

Clare in the Community original artwork and accompanying items by Harry Venning for the Guardian.

Administrative/Biographical history: Harry Venning is a British cartoonist, illustrator and comedy writer. He has contributed regularly to the Guardian since 1996 in the form of the Clare in the Community cartoon strip which appears in the Society pages and which since 2004 has also been made into a programme for BBC Radio 4. Venning's other work has appeared in the Mail On Sunday, the Sunday Telegraph, the Independent, the Sunday Times, The Stage and the Radio Times, as well as publications in Canada, Switzerland, South Africa and New Zealand and in numerous books. Venning currently lives and works in Brighton.
Creator: Venning; Harry: illustrator

The collection holds a near complete set of portrait and photo-journalistic work produced by Jane Bown between 1947-2008. It also contains personal papers, work books, correspondence, diaries and artefacts relating to all aspects of Bown's photographic practice.

Administrative/Biographical history: Jane Bown was born in Dorset and educated at William Gibbs School, Faversham. She became a chart corrector for the WRNS, (1944-46) before studying photography at Guildford School of Art, Surrey from 1946-50. She joined the Observer in January 1949 and her first published work for the paper (a portrait of Bertrand Russell) was printed the same month. From 1964 to 1967 she worked in colour for the newly launched Observer Colour Magazine but disliked it and returned to working predominantly in black and white. Her extensive photojournalism output includes series on gypsies, Greenham Common evictions, and in 2002, the Glastonbury Festival. Her sitters include Queen Elizabeth II, Jean Cocteau, Samuel Beckett, Woody Allen, John Betjeman, Jayne Mansfield and the Beatles. Exhibitions include 'The Gentle Eye', National Portrait Gallery, London (1980-1); 'Rock: 1963-2003', The Newsroom, London (2003), 'Unknown Bown', The Newsroom (2007). Group shows include 'How We Are - Photographing Britain, Tate Britain, London, (2007). Publications include 'The Gentle Eye' (1980), 'Women of Consequence' (1986), 'Men of Consequence' (1987), 'The Singular Cat' (1988), 'Pillars of the Church' (1991), 'Faces: The Creative process Behind Great Portraits (2000), 'Rock: 1963-2003' (2003) and 'Unknown Bown' (2007). Jane died at home in Hampshire in 2014.

Digital prints of photographs taken during assignments for the Observer Magazine in the 1960s, although not all were published in the magazine. All titles are supplied by Ian Berry for an exhibition of his work held in 2007; some vary slightly to the original captions used in the Observer Magazine.

Administrative/Biographical history: Ian Berry grew up in Lancashire but moved to South Africa at the age of twenty-one. He worked for various publications including Drum and the Rand Daily Mail. He was the only photographer to document the Sharpeville massacre, and his photographs were later used in the trial proving the victims' innocence. He left South Africa in 1961 and in 1962 he relocated to Paris where he was invited by Henri Cartier-Bresson to join Magnum Photo Agency. He moved to England in 1964 where he joined the Observer Magazine (under the editorship of Michael Davie, Paul Mandel and Bryn Campbell) as its first contract photographer. He contributed to the Observer magazine between 1964 and 1970. His publications include 'The English' (1978), and 'Living Apart' (1996).

Original artwork by Ian McNee for the Guardian Weekend supplement, which later became Weekend magazine. Also includes cuttings from Weekend featuring Ian McNee's artwork.

Administrative/Biographical history: Provided illustrations for the Guardian, mainly the Weekend supplement from 1991-97. Also contributed illustrations for Guardian Friday, Women's Page and Music. Also contributed editorial work for the Observer.

Children's book designer and illustrator for Usborne publishing 1990-2004. Freelance illustrations for Usborne 2004-2011

Collection of original artwork which featured alongside articles, predominantly in the Guardian, but also in other papers. Also includes a drawing for the exhibition at Kings Place in 2011.

Administrative/Biographical history: James A Sillavan (JAS) studied advertising at Manchester School of Art in the early 1970s. Returning to the UK after a year in Colombia he went into magazine design and ended up as a layout artist on the Daily Express. In 1991, Sillavan was offered the post of diary cartoonist on the Times. This was followed by a move to Paris in 1996 where Sillavan took up photography. Sillavan received his first Guardian commission in 1999, changed his 'sign off' to JAS and began cartooning again, providing the Guardian with two illustrations per week. In the years that followed, Sillavan’s cartoons accompanied hundreds of articles across various sections of the paper, most commonly the Education and Comment & Debate pages. As well as the Guardian, Sillavan’s work has appeared in numerous other papers including the Observer, Financial Times, Daily Telegraph and the Economist.

Contains records relating to the administrative running and establishment of the company, legal agreements with UK television companies, proposals for potential productions and publicity and research material relating to individual productions. Also includes copies of broadcast productions of the Observer Film Company.

Administrative/Biographical history: The Observer Film Company was established in October 1988, primarily as a result of negotiations between television producer Kimi Zabihyan, freelance journalist Andrew Drummond and The Observer's then-editor Donald Trelford for the establishment of an independent factual film production company with financial backing from the Observer.
The first documentary to be produced by the company, 'Lord of the Golden Triangle', an expose on the Burmese drug baron Khun Sa, was broadcast on ITV on the 12th July 1989. This was co-produced between Drummond and Zabihyan, who had previously been a producer at Picture Partnership Productions. Zabihyan produced most of the company's productions.
The company continued to produce programmes for all the major UK television companies, including the BBC, Channel 4 and ITV, until 1995. Over 30 productions were made in the first four years of the company's existence, covering UK domestic issues and many of the main issues of interest in international journalism from the time. These included various productions on the sectarian violence in Northern Ireland, investigations in China and El Salvador, various productions on the Soviet Union (including an interview with Andrei Gromyko, conducted just a few months before his death), gang culture in the ghettos of Kingston, Jamaica and an investigation into the testing of chemical and biological weapons by the MoD on unsuspecting British soldiers.
The company became part of Guardian Newspapers Ltd when the Observer was acquired by Guardian Media Group in 1993, continuing to operate under the same name. The Observer Film Company was wound-up in December 1995.