Above is an example of what I call “The Expressionists” for want of a better term. Obviously these groups of dancers are trying to convey something but it isn’t always obvious what they want to say. As often as not there’s no information on the cards to help.
I can tell you that this card comes from an album featuring Raybury School of Dancing Folkstone, Maidstone and Athelston School. Dated in the 1930s but what it’s about I don’t know. A scene from an opera perhaps?
And this one’s from from an album of photographs and clippings related to ballet in Weymouth during the 1950s and 1960s. I guess they are posing for a photographer while warming up.
I call this one “The Dying Swan.” You can often come across variations of this type.
Another mystery. Representing some sort of myth?
Obviously a ritual to welcome the spring I’d argue!
Ah, must be the dance of the birdhouse!
Homage to the fairies at the bottom of the garden.
Variations on the circle dance are also popular.
Any suggestions on the real subjects of these dances welcome.
Vintage dancing girls come in many different configurations from solo dancers (some just posing), troupes professional and amateur, old, young and sometimes not even girls as you will see below. That diversity is what struck me about this genre of RPPCs and photographs when I began this collection. I’ll be posting some examples of the different types of dancing girls in the future but I’m starting with a few of the couples from the first 100 items in my flickr album.
So clearly this dancing girl on the left is a man. One of the intriguing things about collecting old photographs and postcards – irrespective of the gender of the participants, you have to ask “What on earth were they thinking of when they did this?”
I think it’s safe to say this is two women. The studio is Stahl Studio, 1221 N. 2nd St., Philadelphia, PA. I’m guessing 1920s from the looks and clothing.
Colourised postcards were very popular. Curiously only the dancer to the right has her dress colourised though it’s possible the other dress was too but the colour has faded.
Ideal Studios. Written on back “Myrtle The Witch Marjorie Fairy Bluebell School Play London St Martins School 1921.” It’s always a bonus to have details such as date, names, studios, locations.
The second photo is also by Ideal Studios Oxford St. Written on back ” Myrtle and Marjorie Dancing Display.”
Musical theatre type outfits are popular though Jazz hands not so much.
A more candid photograph in contrast to the more usual and obviously posed ones. There’s nothing to identify the dancers but from their clothes I’d guess late 1950s or early 1960s.
Again nothing to identify these two. This was image 100 in the collection in 2016. The album was started in 2012 and is, of course, still ongoing.
Sometimes it’s hard to understand music hall performers. I’ve seen at least two other postcards of The Yorkshire Rustics yet what was their act really like? From this image they look more frightening than entertaining. Certainly depictions of simpletons and lunatics would be offensive to the modern eye.
There’s a good discussion between Alexi Sayle and Stewart Lee about music hall acts in Alexi Sayle’s podcast (episode 7) about “working class surrealism.” They’re both music hall fans and the more I think about it the more I can see music hall influences on variety acts of the late twentieth century and, of course, Sayle and Lee and other performers like Frank Skinner, himself a George Formby fan.
Speaking of surreal, how about this skating girl and skating bear? That must have been a sight to see.
And here’s a girl talking to her teddy bear.
Groups of “juveniles” were very popular in the halls and some performers continued to perform as juveniles long after they could sensibly claim to be so young. In terms of collecting I can’t successfully repair the damage to this card digitally, though it’s still of interest.
There’s a fine line between music hall performers and those who would once have been exhibited in “freak shows.” According to sideshowworld.com “Lady Little travelled all over the world. In 1913 she was 23 inches tall and weighed 12.75 lbs.” Contrast the indignities suffered by the Elephant Man and the popularity with royalty of “General” Tom Thumb.
Contortionists were another staple of the music hall and variety.
And of course there were the ever popular exotic acts.
The TV programme “The Good Old Days” did a good job of reproducing some famous acts but it was clearly a highly sanitised version of what a real music hall bill was like.
In the popular imagination the Tiller Girls are more like the colour photograph above. This one was taken in 1990 by Paul Groves for the Daily Telegraph. Those of us of a certain age will think back to seeing the Tiller Girls on Sunday Night at the London Palladium in the 1960s.
Most people will be surprised to learn that the photo of the “tennis players” above were also Tiller Girls. In fact there have been many Tiller Troupes and Tiller Girls over the years, starting in 1894 when John Tiller established a school of dance where girls were drilled to perform routines with military precision. (He’d probably be banned from Strictly Come Dancing these days).
Above are two Tiller troupes from 1916.
Tiller troupes were popular additions to music hall bills and to pantomimes. On the back of this card is written “Put me amongst the Girls” but the signature is unreadable.
Even these curious ladies are Tillers.
There are so many Tiller-trained groups that some of them went under different names. The Palace Girls for instance were trained in a Tiller school.
Every end of pier show would have their own Tiller Girls and, of course, they were used to sell sheet music.
These Tiller Girls are from 1954.
Another Daily Telegraph photo from 1988 of a Tiller Girls reunion, but which version or are they just a mix from different troupes?
This newspaper cutting gives some idea of Tiller’s involvement in his work. The date’s not certain but the cuttings were with two postcards dated 1916.
If you want to know more about Tiller’s Girls then the book by Doremy Vernon is the place to go. The book’s out of print but easily available on auction sites.
I’ve always got several projects on the go. These postcards of a ballerina were dated September 1914 at Bexhill-on-Sea. They’re the latest addition to my collection of vintage dancing girls, a project running for over 10 years now and amounting to 563 entries. My recent article on this collection in the British Music Hall Society‘s magazine only scratched the surface and there’s much more to come.
I’m still experimenting with pictorialism as a style so here’s the view through the gate and down the lane.
Speaking of views from the house here’s a recent sunset. From the front of the house I look west over the local quarry and there are often spectacular sunsets.
All sorts of ephemera turn up when collecting old photographs, like this knitting pattern. I have a theory that these old patterns will become ever more collectable, not for the patterns themselves but for the photographs on the covers. The amount of activity around knitting patterns on Ebay seems to support this idea.
After a hard morning processing scans and photographs it’s time to relax in the garden and here’s Gnasher finding some shade.
And here’s two of our local squirrels cleaning up seeds that have fallen from the bird feeder.
Material from a file belonging to Cynthia Williams about her entry into the Miss Secretary of Great Britain 1965 competition. I don’t know how many years this competition ran for as I can find nothing about it on the internet.
This is Cynthia arriving for the competition.
And this is Cynthia photographed for the competition.
In contrast this is clearly an amateur photo of Cynthia and her cat. Much more charming I think.
Another photo presumably from a family album.
And a candid snap which was also in the file.
As well as the photos there are pages of correspondence about the competition, good luck cards, accommodation details and so on.
This newspaper clipping confirms Cynthia was a runner-up in the competition and won a £50 prize, well worth having in the mid 60s. Note her street address was given – not something we’d expect to see today.
How many other files exist in attics documenting the ordinary and extraordinary exploits of everyday people? When they surface they are much more interesting than the lives of modern “celebrities.”
Ruth Wells was evidently a 1960s model and most of the photographs I have of her were clearly taken by a professional, although there are some amateur ones too. One photo has on the back “Height 5’5” Bust 34” Waist 24” Hips 35” Hair Dark Brown Brown Eyes.” Some of the photos are stamped ”Newnes and Pearsons” on the reverse who I believe published many popular magazines. There’s not much else on the back of the photos but one has handwritten “Taken for Women’s Own about 3 years ago.” I have 70+ photos of her including clippings from magazines.
I’ve taken a good number of photos from contact prints and done some minimal restoration. Above is one of the sheets plus I’ve enlarged a couple of cells which have been marked up for cropping and removing blemishes which someone would have had to do old school style, long before computer retouching. There’s nothing new about retouching, just faster and easier ways to do it.
She looks the part for someone who would appear in popular magazines of the time and would appeal to the general audience rather than just the swinging 60s crowd.
She looks wholesome even in the swimsuit shots!
Once again I am astonished at how collections like this just get thrown out or end up in house clearances. These photos are a lovely glimpse into a piece of social history as well as coming from someone’s private collection. There’s more personal information including wedding photographs which I haven’t included here or on my Flickr feed. We worry about privacy in the digital age but the information in some of the newspaper clippings I have on Ruth even give the address of where the married couple were going to live.
[This article was first published in The Call Boy,Summer 2024]
I collect old photographs and real photographic post cards. Most people following this hobby will at some point decide to specialise in a specific subject. In my case I began to notice how often photographs of girls in dance costumes began to crop up. It didn’t seem to matter what age they were or, in a few cases, what sex they were. There are many different categories of dancing girls to be seen from girls’ dance groups in school to exotic dancers to be seen in nightclubs and on the stage; from amateur solo dancers to large troupes of professionals. From the point of view of the Call Boy the photos of most interest are of the professional and semi-professional dancers that appeared in music hall, theatre and variety shows and it is these that I concentrate on here.
The most obvious place to start is with the Tiller Girls. I used to think that the Tiller Girls were just those dancers who appeared on Sunday Night at the London Palladium but was surprised to learn that the first Tiller Girls were trained by John Tiller in 1889 and that there have many different troupes trained using his methods ever since, some bearing the name Tiller Girls or Tiller Troupe but many going under different names. There is an excellent book tracing the history of the Tillers – Tiller’s Girls by Doremy Vernon which, though out of print, can easily be obtained on one the web auction sites.
Another famous group of dancing girls were to be found at the Windmill Theatre. Although they might be better known for their naked tableaux, the Windmill Girls performed dance routines in shows and they were in constant rehearsal for the new shows which changed regularly. You can find some fragments of routines by the Windmill Girls on YouTube, as you can for the Tiller Girls. There’s even a 1949 film shot in the Windmill Theatre called “Murder at the Windmill” which has recently been broadcast by Talking Pictures TV. There is also the Judi Dench/Bob Hoskins film “Mrs Henderson Presents” though I understand some liberties were taken with the storyline. The Windmill also published annual editions of a magazine, Revudeville, where you can find photographs of the dancers and their individual names. After publishing one photo of Windmill Dancers I was contacted by the son of one of the dancers!
Nearly every Music Hall and Variety bill had its share of female dancers, many if not most unnamed as they appeared in chorus lines. There were many variations on the type of dancers and, of course, they often presented skits and other entertainments as well as dancing. Juveniles seem to have been very popular and were often presented as if they were all members of the same family though this was not always true. “Model Maids” and “Dairymaids” were other popular ways to package dancers. My own collection of photographs and postcards suggest that troupes of dancing girls must have run into the thousands. Some, like the various Tiller troupes, lasted for many years whilst others probably had much shorter shelf lives. What happened to all the “juveniles” for instance? Herein lies the problem of collecting these materials in that it’s difficult or impossible to find reliable details and dates for when these troupes were active. Sometimes there’s a date on the reverse of a postcard and often there’s the name of the studio where a photograph was taken but handwritten dates are unreliable and most of the studios have long since disappeared. Even if a troupe was photographed at a named studio there’s no guarantee that the town where the studio was situated was the home town of the dancers. Trying to trace information about these dancers online is usually fruitless and shows up the inadequacies of the internet for any serious research into the history of these entertainers. Books such as “Grace, Beauty and Banjos” by Michael Kilgariff and “Roy Hudd’s Cavalcade of Variety Acts” contain lists of performers but seldom have any information on any but the most famous dance troupes
My own favourite “dancing girl” is Jessie Matthews, often known as the “dancing divinity.” At least in her case there is a plethora of information to be had on line and in print but best of all we still have her wonderful films from the 1930s. It’s tragic that she never got to work with Fred Astaire as apparently other work commitments prevented a planned project together.
The entire collection of my vintage dancing girls photographs and post cards can be found at https://flickr.com/photos/basilisksam/albums/ I am still collecting and still researching and would be interested to hear from anyone who can add to my knowledge of vintage dancing girls.
A set of miniature postcards of Victorian actresses all addressed to Edith at Birch View Whitechurch Tavistock. Edith was the youngest daughter of Joseph Helson who was the detective in charge of investigating Jack the Ripper’s first victim, Polly Nichols. Helson on his retirement moved to the Birch View address. The cards are all postmarked and dated 1904.
Apart from the strange Ripper connection these cards are unusual, being of a much smaller size than normal, hence they were known as midget or miniature postcards.
Edith continued to receive postcards of famous actresses in 2005 and 2006 but this time of the more usual full size variety.
I’m not sure how to interpret this photo of Billie Burke. Presumably we’re meant to think she’d just been hatched from an egg but why’s she got a stuffed bird on her hand?
Weddings are another type of family event and photographs don’t always show that everyone is having a good time. This group look very glum.
I count three smiling women but the rest, including the bride and groom, are not so happy.
A more formal group. Photograph dated 1921 and location Ringley.
“Duncan’s wedding party” is written on the back.
On the back of this photograph we have “Marriage of John Froggatt at Watford and Harriett Abbott (mother Harriett Ann Walker Abbott (widow)) 20th July 1909.”
And these are my parents Charles and June on their wedding day in 1952.
