Category: travel

When big isn’t necessarily better

angela findlay4 Comments

Reflections on: IN PROCESS… a life, a film, a book, an exhibition, The Vaults, Stroud. Sunday 19th October, 11am-5pm and by appointment until 1st November.

 

“We must, we must, we must increase the bust.

The bigger the better, the tighter the sweater, the boys depend on us.”

I remember chanting that with my boarding school roommates as a teenager, elbows flung back in a futile attempt – in my case at least – to inflate our adolescent chests. Bigger was definitely better, or so we believed.

Burj Khalifa, Dubai

Skyscrapers, cars, salaries, houses… In so many areas of modern society, ‘big’ still equals ‘better.’ More followers, more likes, more headlines, more sales. The biggest countries led by the most powerful leaders and largest militaries make the most noise. And yet we know, quantity doesn’t equate to quality. Magnitude doesn’t always reflect meaning or value.

This idea – that bigger isn’t always better – is something I’ve seen reflected both in the trajectory of my great great aunt Joan’s life and in my own development as an artist. (If you are new to Joan’s story, please see my previous blogs for background.)

Patshull Hall, Staffordshire

Joan’s tent

Joan grew up in a 147-room stately home in Staffordshire. Yet she spent her final weeks in a single, often soggy Meade tent pitched in a remote Himalayan Valley, surrounded not by grandeur but by shepherds, wildflowers and the sound of rain. She had traded scale for purpose. And her joy, it seems, had grown as her material load had lessened.

My own artistic journey has followed a similarly inverse curve.

Painting a mural in Sydney, 1987

I began large, unable to contain any drawing or painting within the boundaries of paper or canvas. My work spilled onto walls, first private then public, then grew further to fill stage backdrops for theatres or touring bands. Various mishaps including a paint-splattered boss’s car and a disastrous commission to paint the backdrop for INXS KICK album tour in 1987, which promptly cracked and fell off in large chunks when rolled up, nudged me toward the more forgiving surface of prison walls. There, no amount of damage could make the environment worse than it already was.

The light danced, 120x120cm

Years later, I turned my focus to canvases of my own, their size dictated by the available studio space and commercial considerations of galleries. And most recently, to works just 28x28cm – or smaller. I have replaced the vast audiences of art fairs with the quiet intimacy of just six or seven visitors at a time into the two vaults beneath my home in Stroud’s Cemetery.

The Vaults

Those vaults now house In Process… a deeply personal exhibition about Joan, her life and the resonance her death still holds for me, our family and small communities she encountered in India.

In one vault, where gravediggers once hung their tools and I now hang mine, visitors watch a short film projected into the open lid of an old trunk telling the story of Joan Margaret Legge.

In the other, where those same workers drank tea, ghostly white plaster casts hang like three-dimensional botanical drawings reminiscent of the specimens Joan collected and sent to Kew Gardens.

‘138 days’

A series of square sketchbooks chart the 138 days I followed Joan’s 1939 diary entries. Starting on 17th February when I stepped into her shoes as she boarded a ship to India, I step out of them again on 4th July, the day she slipped off the edge of a Himalayan path to her death. One photograph, one sketchbook page, each day a quiet re-embodiment across time. Not a recreation of her journey, but a chance to listen more deeply to the changing tone of her voice in the final months of her life.

At the heart of the exhibition is its smallest piece: a re-working of a first edition of Frank Smythe’s Valley of Flowers, the very book that inspired Joan’s expedition. Through collage, drawings and pressed flowers, it now tells the stories of three visitors to the valley rather than just one: his, hers and mine. Wrapped in brown paper and tied with string like an archival package, the book invites visitors to wear white gloves to turn its delicate pages, not because it is precious in a monetary sense, but out of respect, Unlike most artworks, these ones are meant to be handled and engaged with.

‘Three journeys in one’

There is nothing for sale. No press campaign. No sponsorship. Just a quiet space, tucked away in a garden, found by invitation or chance. A strange but deliberate choice, and to me, a more authentic reflection of the humbleness of where Joan’s life ended than any traditional gallery could offer.

What Joan lost in material possessions, she gained in purpose and joy. Her life distilled into what nine porters could carry. She found a sense of completeness long before she had completed her journey.

That’s what I hope to convey in the improvised, immersive pieces shown in the warm belly of my limestone vaults. People forgive imperfection and lack of polish as they connect with Joan’s story through their hands, senses and bodies.

Just as artists learn to see not just form but negative space – the shapes between things – so Joan’s outwardly abundant life transformed into an inner world: slower, quieter, less visible, but not lesser in any way.

Maybe this is a natural outcome of ageing… the gentle decluttering of ambition and a reshuffling of values. Or maybe Joan’s story is a simple reminder that richness cannot always be seen and meaning doesn’t always require an audience.

The symmetry in our shrinking trajectories is just an observation.

But it feels strangely right.

IN PROCESS…

Sunday 19th October, 11am-5pm and by appointment until 1st November.

The Vaults, 114 Bisley Road, Stroud

 

 

 

Following Joan… Part One

angela findlay3 Comments

On 17th February 1939, Joan Margaret Legge boarded the T.S.S. Hector at Birkenhead’s Vittoria Docks and set sail for India. Surrounded by a flurry of last-minute flowers, letters and good wishes as well as Leica cameras, rolls of Kodak film and 17 packages from Fortnum & Mason, she began a four-week sea voyage that would deposit her in Mumbai. From there she would travel north by train to the Himalayan hill town of Ranikhet. And so, aged 54, began her greatest adventure.

The year before, Joan had read mountaineer Frank Smythe’s newly published book The Valley of Flowers and was so captivated by his descriptions of the majestic Himalayas that she resolved to go there herself. With the intention of adding to the collection of flower specimens Smythe had collected, she offered her services as a keen albeit amateur botanist to Kew Gardens, who willingly accepted sending her flower presses and detailed instructions on how to collect and preserve flora from the field. 

Some of Joan’s specimens from N. India in 1939, recently digitalised ©Kew Gardens

Her daily diary entries – written in tiny, meticulous script – and a remarkable collection of surviving photographs, now housed at the Stafford Archives, paint vivid scenes of rural life in northern India. As a woman navigating imperial times, Joan observed the stark poverty, the tangled legacy of British rule, and the troubling presence of Christian missionaries amid deeply rooted local faiths. Yet she did so with sensitivity and genuine curiosity, not the arrogance or entitlement so often associated with her era. She taught herself enough Hindustani to converse with those she met along the way, delighting in children, cups of tea, goats with saddle bags and botanical novelties in equal measure.

©Staffordshire History Centre

Several months of acclimatisation treks around Ranikhet gave her time to assemble a team of guides and porters and to test her equipment – tents, a canvas bath, ice axe and other supplies – in preparation for the ultimate trek to her final destination: the remote, high-altitude Bhyundar Valley, nestled just south of the Tibetan border. On May 22nd, they headed north.

31st May, 1939. Arrival at the Kuari Pass: “A very great day in one’s life”

As I have mentioned in earlier blogs, Joan was my great-great aunt on my father’s side. And last July, three other descendants and I retraced her Indian footsteps. Together with local guides who were already familiar with ‘Legge Ma’am’ as they fondly and reverently called her, we made our way to some of the same hills and valleys she once walked, recognising waterfalls, temples, holy trees, bridges and landscapes she had captured in both writing and image.

Like all pilgrimages to places of memory, her story seemed to reassemble itself in the elements around us: the humid air, the scent of pine needles crunching underfoot, the wind and monkeys dancing through the trees, the sheer drops and raging rivers, the saffron-clad pilgrims, and the fleeting glimpses of snow-covered peaks – ‘the Glories’, as Joan called them in her awe – emerging through shifting skies. As the four of us dipped our toes into the trials of that wild and beautiful land, its altitudes, its weather, its unfamiliar rhythms, her quiet courage and unflinching resilience rose steadily in our esteem.

Nilkanta 1939 ©Staffordshire History Centre
Nilkanta 2025

Joan’s story is that of an intrepid 54-year-old woman who displayed the same grit and independence as her more famous contemporaries, such as Gertrude Bell or Evelyn Cobbold. But unlike them, her path was quieter, deeply personal and largely unsung. Her modesty, her self-deprecating wit, and the sense of spiritual joy and serenity captured in her letters and journals only deepen the power of her achievement. The beauty and the tragedy of what came to pass have lifted Joan’s journey into something more than biography. It is a story that asks, gently but insistently, to be remembered. Maybe I am the last in our lineage to feel her so vividly. Maybe I am the one meant to tell it.

Vittoria Dock, Birkenhead 17.02.2025

With that in mind, on 17th February 2025, exactly 86 years after Joan set sail, I stood at Vittoria Docks in Birkenhead to symbolically wave her off. I imagined the Hector gliding down the Mersey, carrying with it not just Joan and her belongings, but the promise of new horizons and adventure. I walked beside the ghost of that ship until it reached the sea, trying to feel what she might have felt… the thrill and anxiety as she watched the landmass she called home and all that was familiar fade from view.

Daily Instagram posts: @ angela_findlay

Since that day, as some of you will know, I’ve been following Joan’s diary in real time, reenacting something she saw or did each day, capturing it through a single square photograph, posting it to Instagram, and translating it into an artistic rendition on a page in one of several dedicated sketchbooks.

Just as she did, I keep a written diary threading her life into my own. These past months have served as a reintroduction to my artistic practice, long abandoned as my brain grappled for a decade with words rather than images to write the story of my German grandfather. The process has involved an exploration of techniques in visual storytelling as I reacquaint myself with paints and brushes, scissors and glue, clay and plaster. Layers of collage stitch tenuous patterns between past and present, India and England, flowers living and long dead.

As today’s world echoes the precariousness of Joan’s, my gaze drifts over flowers and leaves, tracing their delicate lines in quiet wonder, both with my eyes and the tip of my pencil. My studio has stirred to life. And the steady rhythm of commitment and focus have birthed new creative ideas and potential collaborations.

Joan died on 4th July 1939. As that date approaches once again, I’m nearing the end of our shared journey. I will miss her – a courageous companion and inspiration. A daily reminder of a world that predated the horrors of WW2, ecological destruction, plastic waste and the proliferation of smart phones. But Joan’s story didn’t end with her death. And my telling of it doesn’t end in the fourth incomplete sketchbook.   

In the Flow: Ode to the River Severn

angela findlay1 Comment

First Encounter with the River Severn

June 1999. You wouldn’t know it was there. Nothing suggests the proximity of Britain’s longest river as you amble down the canal towpath at Frampton-on-Severn. I have a hand-painted sign promising Cream Teas to thank for its discovery. The arrow lured passers-by through a hedge and into a wonderland of round tea tables bedecked with embroidered tablecloths and mis-matching crockery and arranged beneath the boughs of a huge copper beech. A tall man navigated trays of silver teapots and 3-tiered cake stands along narrow paths mown through the long grass. 

I had moved back to England after 10 years living abroad and was checking out the Stroud area as a possible new home. The top floor of the accompanying Lodge was up for rent, I soon learned… would I like to look at it? A sweeping staircase carried us up two stories and into an apartment of hexagonal rooms adorned with small fireplaces. Then, bending double, two miniature doors awkwardly birthed us onto a roof terrace and into the breath-taking view that would become my world. The River Severn stretched like a taut blue sheet tucked into a distant shore. Low tide mud sparkled. Silence was broken only by the soft chink of teacups on saucers.

Life on the River Severn

I would live in that apartment on the Severn for nearly three years. Every day I walked along the banks of the estuary, my breath aligning with the deep ebb and flow of the tides. 

I witnessed the stoicism of a little oak tree holding its precarious own through the seasons, storms and floods; watched cows amble home at dusk accompanied by the swirling black clouds of starlings that condensed and evaporated in the gentle orange glow.

This was where I became a professional artist, scooping rich, melted-chocolate mud into buckets, mixing it with paint and dancing sky and weatherscapes onto large canvases with my hands. 

On many a chilly morning I stood on the Severn’s banks with mugs of coffee and expectant crowds waiting for the world’s second highest Bore to swash its way up the estuary and carry brave surfers upstream. Once, in the pitch of night, I crossed its swirling waters in a rickety old boat and returned in the frozen pinks of dawn. 

A Severn Bore

In later years, I would park my camper van on its shores, drink chilled glasses of wine in the sun’s last rays and sleep through rising moons and meteoric showers. 

I have a rich store of happy, muddy memories of the River Severn.

Walking the Severn Way from source to sea

For the past eight months I have followed its 220-mile course [albeit not in order] from source to sea; from the peaty uplands of Plynlimon in Mid Wales, north-east through Powys and Shropshire, then south through Worcestershire, Gloucestershire to where it sweeps into the Bristol Channel… the Celtic Sea… the Atlantic Ocean. 

Map from the Severn Way Guidebook by Terry Marsh

Within a mile of its boggy birth, the infant Severn starts tumbling through the Hafren Forest, gathering erratic speed like a toddler until the ‘Severn-break-its-neck’ Falls plunge it into the valley that will bob it to its first town, Llanidloes.

Assuming a steadier gait, it meanders through undulating pastureland before looping north to cross the Welsh/English border at Crew Green. Growing prosperity expands its girth into a watercourse that cuts through floodplains as it heads into the dense cluster of the period buildings and timber-framed mansions that formerly made up one of Britain’s most prosperous wool and cloth trade towns, Shrewsbury.

Past the birthplace of Charles Darwin, a glassy stillness and almost imperceivable flow belie the Severn’s true force as it smoothly snakes its path between overgrown banks of willow, elder and the deceptively pretty pinks of thuggish Himalayan Balsam.  

History punctuates the landscape with traces of Roman forts and roads, a Saxon chapel, the evocative ruins of the Cistercian Abbey at Buildwas, 16th Century market halls and sandstone caves that once sheltered hermits or stranded travellers unable to cross the river. As the Severn bullies its way south through gorges striped by coal, limestone and iron ore strata, the legacies of once booming industries and trades are memorialised in mines, railway stations and canals that once linked local towns across Britain. 

Regular bridges drip feed the imagination with the industrial revolution. Ironbridge boasts the world’s first iron bridge cast by the grandson of Abraham Darby in 1779 in the wake of his grandfather’s revolutionary discovery seventy years earlier that coke could be used for smelting iron instead of charcoal. Further downstream, the fortified town of Bridgnorth perches on a sandstone cliff. Once the busiest port in Europe, it hummed with the sound of iron works and carpet mills, breweries and tanners until the 1860s when railways heralded the end of river trades.  

Following its increasingly wide, milky-coffee-coloured road, vocabulary from school geography lessons surfaced from the recesses of my turbulent education: Oxbow lakes, flood and sandbanks, confluences; soaring cumulonimbus or, equally frequently, water-dumping nimbostratus clouds.

South of Gloucester and around the peninsular at Arlingham, the now tidal Severn breathes in the sea and releases the river out into the vast estuary. At Purton, the ghostly remains of a graveyard of more than 80 sunken barges reveal man’s hopeless struggle to halt the erosion of the banks. Through the working docks at Sharpness and past a pair of looming power stations, the two Severn Bridges rise like misty goalposts. Portals to the open sea. And an abrupt, somewhat unspectacular end to the Way.

With the walking completed, there remained just one more aspiration: to surf the Severn Bore. A bad dream thankfully warned this novice surfer with a fear of water off. Instead, I rode the Bore in a boat driven by its champion.

We set out on a slack tide in the early dawn, deposited two surfers into the tidal stream and waited. You can hear the roar as it approaches. Pulled by the force of the moon, a small line of foam scrabbling its way against the flow comes into view, gathering body until it is a swell. And then you are on it. Riding the crest as salty water from far away thrusts its way up the river dragging the sea in its wake like a heavy cloak.

Immersed in the perfect balance of the 4 elements, the smile on my face remains for many hours. The magic of Sabrina will last a lot longer.

Random, chance, God… or what?

angela findlay15 Comments

Zinc Oxide Tape. Waterproofing Wax. Leech socks.

These were the entries listed on the first page of my new notebook. And I ignored all three.

The fourth, written in slightly brighter blue ink read ‘Tanya Vad… Thank you’. I had arrived in India. Dhanyavaad was the most important word I wanted to learn.

This small 11 x 7.5cm notebook would accompany me for the next 18 days, safely tucked away like a baby joey in the blue pouch strapped to my tummy. I would dig it out regularly, flip the turquoise-green cover over the black spiral spine and scribble something, often illegibly, as I walked or rattled round a hairpin bend in our bus dodging landslides. Over the weeks it gathered names, email addresses, dates, details and ideas for my new creative project.

As anybody who has travelled with a purpose knows, the notes you take become an invaluable aide-memoire for when you return home. As you re-enter your everyday, the sharp outlines of a foreign, multicoloured present seal into a soft-focus bubble that drifts away to bob among other memory balloons in skies gone by. Experiences fade and jumble in a cacophony of impressions. Verbal re-tellings omit details as they settle into a condensed narrative designed for low attention spans. Bring out the notebook, however, and you instantly have a co-witness; a means to tangibly touch the past. 

I have boxes of such notebooks. They have helped me write or paint, jolting my memory, filling in gaps. That is why losing this little green one, felt like the end of the world.

It happened a few days before the end of the trip. I mentioned my impending adventure in my previous blog, how I was about to embark on a journey following in the 1939 footsteps of my Great Great Aunt Joan to the Valley of Flowers in Northern India. Our happy, harmonious group consisted of my sister, two female cousins, three or sometimes more local guides plus a driver. We made a dream team and I am telling you about this specific incident because I can’t yet put the bigger whole into words. And because in essence it captures the magic of the entire trip. The many small miracles we experienced and the power of stories.

On this particular day, just as Joan had done 85 years earlier, we were visiting the temple in Badrinath. An atmosphere of noisy celebration, dancing and orange-coloured joy pervaded the streets of this small but hugely important Hindu town located at an elevation of around 3,100 meters in the Garhwal Himalayas. Inaccessible and closed for six months of the year due to extreme weather, it is one of the most visited pilgrim destinations in India attracting 5-mile queues in the summer months as people line up to pay their respects to the 2000-year-old black granite deity of Lord Badrinath housed in the main temple building. 

Being slightly off-season due to the monsoons, we were able to simply kick off our shoes and, bearing wreaths of marigolds, join the gentle flow of pilgrims, many of whom would have travelled for days to be here. Once inside we planted ourselves on some steps to watch people of all ages circling the inner temple, taking (prohibited) selfies and videos and gathering goodie-bags of holy sweets, sultanas and nuts for their families. After some time, we shuffled out again in a bubbling counter stream that spilled onto the temple forecourt, an architectural wonder that miraculously clung to the riverbank while other sections downstream had succumbed to gravity and slipped into the raging, milky-beige waters of the Alaknanda River. 

We retrieved our shoes and stood discussing where to go for lunch. That’s when I noticed it was gone. My pouch was open and empty. An all-too familiar plummeting sensation drained my face and body as a memory surfaced from the depths of 1987, my last visit to India, when my bag containing 3-months of undeveloped film, diaries, recordings not to mention passport, visa, ticket home and money were stolen on a train, never to be seen again. A small wave of panic broke out within our group, scooping strangers into its current. The men in charge of storing shoes searched their patch; sister, cousins and guides dispersed in all directions to scour corners, dustbins and donations boxes both in and outside the temple complex. Our main guide, by now friend, Kiran, took me to a small nearby room stuffed with five uniformed security guards and fifteen or so screens of surveillance footage. We fast forwarded our way through videos following my movements – me feeling both relief that I had refrained from taking a sneaky photo and slight concern that a hidden camera might have caught me ducking behind a wall to remove my leggings. The loss of ‘a little green diary’ was announced over the temple’s Tannoy system, but our efforts were to no avail. 

Thoughts raced through my head as I searched the grainy grey images both for the moment of its disappearance and any possible symbolic significance I could attach to it. Maybe I am not meant to be doing a project on Joan – or Legge Ma’am as she is known in these parts. Maybe this is a sign I should have just experienced the trip and trusted I would remember what is important rather than constantly jotting things down. [This is just how my mind works.] Will this ruin the trip for me, for everyone? How could I have dropped it? Who could have taken it… why would they? Maybe…

Then the phone call came. The little green diary had been found. I restrained myself from hugging the guards in the rush of relief and hope. But for me to fully believe it, I had to see it. 

Our other guide, also now friend, Naresh, had re-entered the complex and gone to the place where people were gathered to listen to the teachings. The door of the temple was firmly locked for the daily offerings – the prasadam – so he made his way to the middle of the crowd and started reciting the beautiful story of Legge Ma’am and why we, her four descendants had come here. He was an excellent story-teller. And that’s when “the magic happened,” he told us afterwards. “It was so strong, so strong that everybody came near to me and started listening to the story. And they were very curious… finally they get to know the importance of this notebook, for all of us and for them as well.” 

A young boy then came forward. He had found the notebook but hadn’t known what to do with it so had put it in the main donation box at the foot of Lord Badrinath in the temple…. which was closed. Naresh called us back into the complex and we waited. We gained fresh red teekas (or bindis) between our eyebrows and more handfuls of sticky white sugar balls and showered the young hero, Shriansh (which fittingly means Part of God) with all the muesli bars we could scramble together from the bottom of our bags.

By now, people were very keen to help, including the priest. When the temple finally re-opened, we were all ushered in. The bright viridian green of the notebook cover could be spotted through the glass walls of the donation box, nestling on a bed of faded rupee notes. So close and yet… Only one man had the authority to open the box. A District Officer (DO) based 200 km away. He was the sole person to hold a key. And he came to Badrinath just once a month. 

That was the point when Naresh, who hadn’t planned on praying that day, asked the deity of Lord Badrinath to help us, just as some of us had already been asking St Anthony, the Christian finder of lost objects. One, or both, stepped in. 

The priest told Naresh to look behind him. There was the DO. Not on his official monthly visit, but by some serendipitous miracle, he had come to pray that day. He willingly fished the key out of his pocket and a little while later, a policewoman handed me my precious notebook. Hugs, tears, smiles and many clasped hands and bows followed… ridiculous really, but we all knew the true value of these spiral-bound pages.

With Shriansh, the finder of the little green notebook

Each one of us will interpret this story differently. For some it might be a random string of events with a lucky outcome. For others it might be evidence of God, a sign that Joan was watching over us, a meant-to-be moment or proof of the power of stories that need to be told. Meaning, just like beauty and truth, is made within. For me personally, the magic of the story lies in the glimpse it gave me of a huge force for good that works behind the scenes we snap with our phones and try to capture in words. Like the evasive Himalayan peaks – or ‘Majesties’ as Joan called them – that briefly appeared in their full glory between parted clouds only to vanish again, this benign power shone through the many eyes that sought contact and connection. It was what I saw in the faces that so readily broke into smiles and laughter; in the hearts that were wide, wide open inviting us to open ours too.  

The ghosts of lost flowers

angela findlay6 Comments

On 4th July, while the minds and eyes of many people in Britain and further afield were firmly focused on Election Day, mine were occupied with my Great Great Aunt who died on this day 85 years ago. In one of those unintentionally magical examples of serendipity, I had managed to secure an appointment at Kew Gardens, London to view some of the fruits of her trekking and gathering in the Himalayas in 1939 just prior to her sudden death.

I introduced Joan Margaret Legge in a recent blog and talked a little on how, while the Second World War was rumbling towards its beginning, she had travelled to the Valley of Flowers, otherwise known as the Bhyundar Valley, in Northern India.

As a keen amateur botanist she had been inspired by the recent discovery of the valley in 1931 by a team of three lost British mountaineers returning from an ascent of Mount Kamet and seeking shelter from inclement weather. One of the climbers, Frank S. Smythe, had been so entranced by the valley that he returned in the monsoons of 1937 to explore and collect examples of its flora. His book, published in 1938, was the inspiration for my great great aunt to set sail in February 1939 and travel up through India to her base camp in the lower hills around Ranikhet. Waiting there for the snows higher up to melt, she spent two months acclimatising, doing practice hikes and organising porters and equipment for the big trek to her destination where she planned to spend the summer gathering seeds and samples for Kew.

Between 22nd May and 20th June she trekked north sleeping in precariously pitched tents with a hardy team of local men carrying provisions. Usually on her feet but sometimes on her bottom, she scrambled and climbed her solitary way through the mountains in a state of sweaty or rain-drenched awe of the ‘Glories’ as she called the soaring peaks that emerged and disappeared in the sky. She took cameras, presses supplied by Kew, wrote diaries and filled collectors’ notebooks with minuscule handwriting describing calyxes and tuberous roots while always scanning the terrain for flowers to press and send to the Herbarium in the hope of filling some of the gaps in Smythe’s earlier, spoiled-by-mould attempts to record what grew there. 

On my first visit to Kew in 2022 I had been told that none of her notebooks or specimens could be located, that they had probably not survived or had been of insufficient quality or significance. It was impossible to search for them… understandably so, the Herbarium houses an incredible seven million specimens!  

The Herbarium at Kew, founded in 1852

When I research I sometimes get this dogged instinct not to accept the first claim of something no longer existing or being lost in the annals of some past archival system and, not quite ready to give up, I renewed my quest to locate them. Following a string of helpful leads, several kind employees at the Herbarium, intrigued by my aunt’s story, joined me in my search. They soon discovered that a collector’s notebook and an as-yet unknown quantity of her specimens had indeed survived and the latter had been recently digitalised as part of a huge project to create a digital catalogue of the contents of Kew’s filing cabinets.

Digitalised specimens of Joan Margaret Legge ©Kew Gardens

And so, on the anniversary of Joan’s death, dodging ballot papers and predictive polls, I immersed myself in the sepia papers of a time and world that no longer exists.

Joan’s Collector’s Notebook, 1939  ©Kew Gardens

Exhumed from their graves and held in place by tiny straps, I was able to connect to Joan through the physical ghosts of the plants she had harvested. Traces of earth still clung to their roots, potent yellow pollen spilled from crumpled and flattened flowers, residual colours blushed petals and leaves as their ethereal beauty gently concertinaed the 85-year stretch of time between Joan’s picking and my viewing into a space in which I could almost touch her. 

Strange to think that these faded blooms had made it back to England while she hadn’t… It was a poignant preamble to an impending trip with my sister and two first cousins, all female descendants of Joan, designed to follow in her footsteps through the monsoon rains and soaring peaks of Uttarakhand, from Ranikhet to Joshimath and Badrinath and on to her isolated grave in the Valley of Flowers. As far as I know, we will be the first members of her family to visit Joan. It will be the realisation of a dying wish of my dear uncle who had long wanted to travel there himself but, unable to fulfil his dream, invited us to go there in his place.

Time marches on, history is made. We have a new prime minister and his government’s actions and inactions will make it into the newspapers and history books. Meanwhile, the silent and unseen reside as untold stories pressed between their pages awaiting discovery.

All images are © copyright of the Board of Trustees of the Royal Botanic Gardens, Kew and/or The Herbarium Catalogue, Royal Botanic Gardens, Kew. Published on the Internet http://www.kew.org/herbcat [accessed on 04/07/2024]