Abingdon and surrounding areas facts and history.

Abingdon and surrounding areas facts and history. This page is to provide all the friends of our beautiful town with information, updates, and historic photographs to view and share. Thank you.

Please feel free to send in and share your own photos. This site is to show the history of our town. No job adverts, no gossip and we like to keep it friendly.

Ballard and Son Limited, at the old Gaol, when it was owned by Harris and Matthews and was used as a corn store.
01/06/2026

Ballard and Son Limited, at the old Gaol, when it was owned by Harris and Matthews and was used as a corn store.

A postcard of the Market Place from my own collection c1908.
01/06/2026

A postcard of the Market Place from my own collection c1908.

Blandford Fletcher, England 1858–1936 painting entitled 'Evicted' 1887. Blandford Fletcher painting 'Evicted' shows the ...
01/06/2026

Blandford Fletcher, England 1858–1936 painting entitled 'Evicted' 1887.

Blandford Fletcher painting 'Evicted' shows the eviction of a mother and daughter in the gaze of their nosey neighbours from their home in Steventon, Nr Abingdon.
Paintings such as Evicted fell out of favour in the early years of the twentieth century. With the passing of Queen Victoria in 1901 and the emerging prosperity and relative peace of the Edwardian era, images of childhood, poverty, old age and religious piety suddenly seemed out of step and were seen as sentimental and overly-laden with emotion. We should remember however that the Victorian era was an age of storytelling in both words and pictures.

Children’s books, the novel and the illustrated periodicals of the time were basically what films, television and magazines are to the current age. Artists and writers appealed directly and emotively to their audiences through novels, serialised periodical stories, plays, paintings and illustrations. Novels and paintings provided models of behaviour – both good and bad. Moralistic intent was often at the heart of artistic endeavour.

Charles Dickens is widely acknowledged as a master of the realist novel form – perfectly suited to portraying the new industrialised, teeming urban masses where inequality, disease, class antagonism and all manner of moral evil provided unprecedented narrative drama for the writer.

The plight of the woman and her daughter in the painting is not explicitly connected to the industrial age but the narrative potential of the work is open-ended enough for a viewer to interpret, surmise and guess at the reasons for the eviction of this small family.

An unprecedented increase in population in Britain during Queen Victoria’s reign was concurrent with industrialisation and urbanisation. Overcrowding of towns and cities resulted in critical shortages of housing for anyone unfortunate enough to be unemployed or disenfranchised from a family life.

For a woman to be widowed or worse, unmarried with a child, was at the time tantamount to a life of destitution.

By the time Fletcher painted this work, very few children were still working in factories or coal mines as they had in the early nineteenth-century although many women still laboured as domestic servants in upper middle-class homes. A series of reforms and acts from the 1870s and 80s had gradually improved the conditions for women to divorce, gain work and obtain custody of children. By the end of the nineteenth century it was increasingly recognised that children needed the protection of a safe family environment. A flourishing industry in children’s publications, toys and reforms in the schooling of children reflected this changing perception of childhood in society.

Sentimentality in Victorian genre painting came to be maligned by critics by the end of the nineteenth century and indeed many artists traded on clichés and trite appeal to the viewer’s emotions. However, many Victorian subjects presented contemporary issues that ran parallel with people’s lives – narratives that were recognisable and invited viewers to participate in them – a phenomenon that is now catered to through television soap-operas.

Paintings such as Fletcher’s Evicted provided Victorian viewers with a reflection of their world and immediate past. That they still appeal to contemporary audiences is testimony to their enduring attraction as pictorial expressions of human emotions.

MGA assembly at Abingdon. A stunning car.'Even though there was almost no high-tech engineering equipment at Abingdon, t...
01/06/2026

MGA assembly at Abingdon. A stunning car.

'Even though there was almost no high-tech engineering equipment at Abingdon, the management could best be described as “paternal” (a one-to-one meeting with General Manager John Thornley often involved a glass of sherry, too), tea break-time involved ladies with trollies rather than machine supplies, and still the factory became incredibly productive.

The story goes that soon after British Leyland had been formed at the end of the 1960s, a top management “methods” team descended on Abingdon, looked arrogantly around this small factory, and announced loftily that it really needed a lot of investment, after which it could produce up to 25,000 cars a year.

“Thank you for telling us,” the MG managers said, “but we should tell you that last year we produced over 50,000 cars.”

British Leyalnd was the worse thing to happen to MG's as 'British Leyland regularly collapsed into strike-bound chaos, and starved MG of vital components to complete its popular sports cars'.

Taken from THE COTTAGE INDUSTRY OF ABINGDON
British Leyland was the worst thing to happen to MG's as 'British Leyland regularly collapsed into strike-bound chaos, and starved MG of vital components to complete its popular sports cars'.

The MG Factory in WWII.MG may be about cars to most, but how they helped during the war did not go unrecognised, – with ...
31/05/2026

The MG Factory in WWII.

MG may be about cars to most, but how they helped during the war did not go unrecognised, – with some people regarding the work in Abingdon as the pinnacle of the company’s successful history.

The following excerpt comes from ‘MG War Time Activities’ by George Propert, former General Manager at MG. The original 59 page document was re-edited by club secretary Colin Grant so this incredible information could be shared with enthusiasts worldwide.

At the outbreak of war, it was obvious that motorcar manufacture would have to cease, and the Government would need the factory capacity for essential war work.
Having this clearly in mind, we commenced to clear the factory. This was rather a sad job because it had been planned and built to suit our particular productive needs, and it seemed that in pulling out the major plant, we were destroying any possibilities of making M.G. cars, and goodness only knew when we should be able to start up again, but “needs must when the devil (Hi**er) drives”, and we set about the job.

It was soon clearly obvious that if we were going to handle major war work, the first thing would be perfectly clear factory floor space. So our expensive paint plant and all other motorcar producing equipment was removed and put into cold storage.

The following excerpt comes from ‘MG War Time Activities’ by George Propert, former General Manager at MG. The original 59-page document was re-edited by club secretary Colin Grant so this incredible information could be shared with enthusiasts worldwide.
Fortunately, we were able to acquire a very dilapidated disused local factory, which at some considerable expense, we were able to put into suitable condition as a store.
This all sounds relatively easy, but even the breakdown of the plant brought its problems because to store the complete factory plant meant that we had to get a premises practically half as big as our own factory and this did not seem practicable, particularly in view of the fact that in clearing the factory we should also have to clear many hundreds of tons of extremely valuable motor car parts, which included the service stores material and all the left over production material, the least easy of which to store were the many hundreds of chassis frames.

So at the end of 1939 we found ourselves with a completely empty factory and no work to do, because our idea that as soon as the works were empty, the Ministry would be rushing a job along to us was quite erroneous.

It soon became clear that if we were going to handle major war work, the first thing would be to secure a perfectly clear factory floor space. So our expensive paint plant and all other motorcar-producing equipment were removed and put into cold storage. However, we had crossed the first bridge and stood ready. Prior to this, we had been taking all sorts of enquiries into the possibility of acquiring a contract for this or that work, but now it became a job of major importance. Because we could not stand still with an empty factory at such an urgent time of need, our Managing Director and the General Manager made it their personal job to scour the country for suitable contracts.

A good deal of this time was spent almost literally sitting on the door­ step of the Ministries concerned. Looked at from this distant date, it is almost amusing to think of the kind of job we were prepared to have a go at. The only thing that mattered to us then was that it should be a job of work directly needed by the fighting men. The writer well remembers one occasion, very seriously investigating the possibility of bridge making.

It was in actual fact, although we did not know it at the time, the birth of the Bailey Bridge*, and although we did not undertake this work, it illus­trates how keenly anxious we were to get our teeth into an important job. Aircraft rotating turrets and guns, too came into the picture, but despite all the energetic efforts, it was some time before we got started.

The real start was made with the overhauling of light Armoured Track Vehicles, and in due course, throughout the years, we blossomed out from this minor start to major Tank manufacture and we have had, as the following records show, an enormous variety of Tank jobs. Having seriously started on Tank work, quite unexpectedly an aeroplane contract came our way, the Parent Company having in mind, we assume, that as we were builders of really high-class motor cars, we could successfully handle aircraft.

Little did they know at that time that our knowledge of aircraft work was just nil. It is quite true that if we saw something in the sky we could safely say it was an aeroplane, but as for knowledge of the detailed intricacies of production, this was a closed book to us.

The days that followed when we got hold of some of the drawings were simply terrific. Had it not been for the fact that a number of the senior staff were such grand people who were prepared to have a go at any job, however difficult, and once started never give in, I doubt very much if we should have been brave enough to tackle this, our first aircraft production job.

As it turned out I feel we can be forgiven for boasting about it. We succeeded where several other much bigger manufacturers failed and in the end we had to clean up all their failures and were entrusted with the building of every unit for this particular marque that ever went into the air.

Coincident with this hectic struggle to get aircraft work planned and production really under way were constantly picking up newer and later type Tank models and at the same time altering and adjusting the facilities of the works to meet all the new demands. It was no easy matter, and at times the obstacles appeared to be almost insurmountable, but every senior in the works had the will to win and all the difficult­ies, mountainous as they sometimes appeared, were ultimately surmounted.

Apart from these major activities, an enormous amount of work was being put into the development of a Press Shop which was called upon to handle many hundreds of different types of Tank Stowage for the Ministry of Supply, work of a some what heavy nature, and in amongst it, various details of light equipment for the Admiralty and special light alloy work for aircraft.

No praise is too high for the ingenuity, which was displayed in this particular section in the creation of special tools, processes and various devices, which ultimately enabled us to meet demands from the Ministries, demands that could not be catered for by the larger manufacturers.

It has oft‑times struck the writer how very true is the old adage that `Necessity is the Mother of Invention’, because jobs of work were put into this section which at first appeared to be entirely outside its scope, and it is really amazing when people have the real will to do the job, how by some means or another they dig out of the unknown a latent ability which never had an opportunity previously to exercise itself.

It was surprising to see how one successful activity after another threw into prominence the need for further effort and with machined details in terribly short supply handicapping the production effort, the necessity for major increased machine capacity became very apparent.

To meet this demand and almost without a thought as to whether it could be successfully accomplished or not, we created a machine shop at our local store's factory and it was really amazing how the seniors concerned, again with that sheer doggedness to succeed, built up a successfully operating plant which solved the detail hold up problems that had previously handicapped the main production effort.

We ultimately found ourselves at the end of 1941 handling a surprisingly large variety of jobs with every square foot of the factory packed to its limit, and at times, taking a bird’s eye view as it were of the whole set up, the change was incredible. it seemed that in a short space of time we had changed from a works filled with daylight and colour, clean to an unusual degree, well planned, with colourful motor cars moving about in active production, to a works that by virtue of the fact that security measures had made it necessary to have a complete black out with artificial light, looking very different from its previous bright clean self, with hardly room to walk about.

It seemed rather sad at times when one remembered previous conditions in the works, but one felt fortified with the thought that however different one would wish the place to be, we were undoubtedly pulling our full weight in the war effort, and this seemed, if anything, to strengthen our resolution to keep on doing more and more if possible, or burst in the attempt. I think one of the major facts that kept it all so very much alive was that one day there must be an end.
Although in the major effort, we might only be a small cog, the efficiency of our set up must be helping to bring nearer the day when there would be a successful issue to the war and we could get back to our peace time occupation, and now as I write after the best part of six years of intensive effort when we are facing up to even greater problems in the rehabilitation period, with major war contracts ceasing, bringing us face to face with difficulties which again seem almost insurmountable, one has a feeling that having been successful in handling all the problems encountered in the war period, we shall, because the same spirit prevails, be fully successful in solving our immediate problems and getting launched on our post‑war work.

Abingdon's first lady mayor.AGNES Leonora Duncan, Abingdon's first female mayor, was born in Wales in 1882.Her connectio...
31/05/2026

Abingdon's first lady mayor.

AGNES Leonora Duncan, Abingdon's first female mayor, was born in Wales in 1882.
Her connection with the town began when her brothers, Jack and Norman, transferred to Abingdon School in January 1900 as boarders.

They were among the first sixteen boys to occupy a newly-opened boarding house, Tesdale House on the Marcham Road.

The head of the new house was the Rev C F A Wimberley, formerly headmaster of Chard School, Somerset, which both boys had attended previously.

Significantly Tesdale House stood next door to the The Firs, the home of Bromley Challenor, Abingdon's town clerk and head of the family firm of solicitors.

On January 28, 1918 Mrs Duncan married his eldest son, also called Bromley, in Llandaff Cathedral and became Agnes Challenor.

She took a particular interest in the parish church of St Helen working as a fundraiser for the construction of the parish hall in 1926, which was partly financed by selling individual bricks to parishioners, and for the new organ in 1927.

She formed the Abingdon branch of the British Sailors' Society and supported both the Church of England Children's Society and Dr Barnardo's charity which opened a home in Caldecott House in 1945.

She formed the Abingdon branch of the British Sailors' Society and supported both the Church of England Children's Society and Dr Barnardo's charity, which opened a home in Caldecott House in 1945.

Mrs Challenor was involved with the work of the Abingdon branch of the Women's Voluntary Service, as centre organiser.

She was also a founder member in 1932 and chairman in 1941, of the Abingdon Townswomen's Guild, a movement launched between the wars 'to educate women in good citizenship'.

A major leisure pursuit was her passion for music, which she passed on to her three children.

She was a member of Abingdon Madrigal Society in the 1930s and of Abingdon and District Musical Society, formed in 1946, which gave concerts in the old Corn Exchange on the Market Place.

Mrs Challenor had no ambition to enter into public work but was thrown into it by the events of 1939-45.

Her work in the community led to her co-option to a vacancy on the borough council in 1941, followed later by election success.

The press report of the 1941 mayor-making read: "Mrs Bromley Challenor was appointed to the vacancy caused by the elevation of Counc. A. Tombs".
Married women at that period occupied few positions in local government and were invariably referred to in the press by their husband's Christian name.
Later in 1950 when she was elected mayor, the first woman in the borough's history to occupy this position, she recalled her feelings when co-opted: "I felt it such a golden opportunity for a woman to get on to the council that I accepted it."
Her photographic portrait as mayor shows a woman of steely determination.
Departing from tradition, she chose her daughter Janet to accompany her on civic duties as mayoress.

She hoped her election to the town's highest civic office would encourage other women to stand in elections to the council.

Two women were persuaded to stand, but only Constance Cox survived further elections to become mayor in 1960.

In 1951 Mrs Challenor became the first woman to be elected an alderman and a year later she and Mrs Cox were selected as two of the three town representative governors on the board of Christ's Hospital, an ancient local charity.

She worked conscientiously in both organisations but in 1956 ill health forced her to resign.

She was presented with an engrossed minute from the Borough Council recording their appreciation of her hard work as councillor, mayor and alderman.

Mrs Challenor died aged 85 at her home 'Waysmeet' in Faringdon Road, on April 6, 1967.

Credit to the Oxford Mail and the author Jackie Smith.

Barton Court (remains of) Sherwood Avenue.Hidden away in a modern housing estate just outside the town centre is the rui...
31/05/2026

Barton Court (remains of) Sherwood Avenue.

Hidden away in a modern housing estate just outside the town centre is the ruin of Barton (often referred to as Barton Court).

The ruined Barton House (or Barton Court) is now surrounded by the houses of Sherwood Avenue, behind Audlett Drive. (Postcode for satnav: OX14 3NL; National Grid Reference: SU 504 974. Map data: Google, Infoterra Ltd & Bluesky)

This is all that remains of a house built in 1554 by Thomas Reade, using stone from the tower of Abingdon Abbey’s church.

The manor of Barton had been granted to the Abbey at an early date. It covered a large area around Abingdon, and Barton was the ‘home farm’ of the Abbey. After the Dissolution, the manor passed by purchase to Thomas Reade. His grandson, Sir Thomas Reade, entertained King Charles I and his wife, Henrietta Maria, at Barton several times.

The family took the Royalist side in the English Civil War, and Barton saw the final parting of Charles and Henrietta Maria in April 1644. Abingdon fell to the Parliamentarians in May 1644. It is unclear if the house was reduced to a ruin at that time, or if it survived until March 1646 when Barton provided cover for an (unsuccessful) attack on Abingdon by Royalist troops from Oxford.

The surviving ruin is challenging to interpret, but it includes a chimney breast with three fireplaces, as well as holes in the walls that would have held joists for floors and a staircase. The building had at least three storeys. A photograph from 1898 shows what appears to be a fine stone chimney stack above one of the fireplaces, but this has since fallen. Some rather unsympathetic repairs to the ruin were carried out in about 2002.

Excavations were carried out here by a group from Fitzharry's School in the 1960s. Finds included a coin of Charles I and much-decorated ceiling plaster of probable early seventeenth-century date. Some of this plaster is now on display in Abingdon Museum. Cannonballs have also been found at the site.

At some point after the Restoration of the monarchy in 1660, a new house (now demolished) was built, just to the south of the ruin. By about 1900, it was known as Barton Court. It is possible that, when this new house was built, the ruin which we see today was deliberately left standing: a poignant reminder of the dramatic events which took place at Barton during the English Civil War, and of the role which the Reade family had played in them.

Roger Thomas

The Market Place with the obelisk and gas lamps before the placing of Queen Victoria's Statue in 1887, and before the fi...
31/05/2026

The Market Place with the obelisk and gas lamps before the placing of Queen Victoria's Statue in 1887, and before the fire station garage in Bury Street was built.
Before the statue of Queen Victoria was placed in the Market Place through the generosity of Edwin Trendell, a wine merchant and mayor of the town, there was an obelisk on the Market Place, with gas lamps on it.

These were the first public gas lamps in Abingdon, which were installed in 1835 and were powered by gas from the gas works at Thames Street, Upper Reaches, up to the obelisk.

The Obelisk was removed in 1887 and was replaced with a statue of Queen Victoria, to celebrate Victoria’s Jubilee of that year.

During the 1939-1945 war the local authorities realised that enemy bombing might damage the town's water supply. They remedied this by building a circular concrete water container in the Market Place next to the statue of Victoria's statue.

In 1940, as a result of the post-Dunkirk invasion fears, the word ‘Abingdon’ was removed from the statue, to add confusion to an invader.

A close look reveals where it was done. It was replaced after the war, unlike the similar wording on the War Memorial, which has yet to be replaced.

At the same time, the statue was boarded over for protection and in 1946 the Borough Council decided to move the statue out of the Market Place and into Abbey Meadow.

Two possible reasons have been found for this. One is that the space was needed for a car park, although this left the problem of the Monday Market.

The second is that the statue needed protection as rides at the Michaelmas Fair were getting larger and could damage the statue. The Queen Victoria Statue became Grade 2 listed in 1971.
Maria Healy sent in the colourised version.

The fair was waiting to pull into Abingdon in October 1903.
30/05/2026

The fair was waiting to pull into Abingdon in October 1903.

An undated picture of the corner of the Market Place during the fair. The Queens is on the left, and Hughes the Newsagen...
30/05/2026

An undated picture of the corner of the Market Place during the fair. The Queens is on the left, and Hughes the Newsagent is the first building on the left with the canopy. I would suggest this is c1900.

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