What’s going on in the World in 1929? Interesting though Photograms of the Year is, you won’t find many answers therein. Each year a paragraph or two is devoted to photography in various countries. In Germany it was now the time of the Weimar Republic, a term coined by Hitler, characterised by hyperinflation, competing paramilitaries and general unrest. None of this is mentioned in the short essay on Germany which, instead, presents a word salad of little meaning such as “no longer the photography we have been calling artistic until a couple of years ago; not the photography based on the traditional principles of pictorial effect.”
“The Secret” shown above could be straight out of Teutonic mythology but is by a Manchester photographer. In some ways this reminds me of the paintings of Evelyn De Morgan as well as referencing back to the Pre-Raphaelites.
“Portrait”, at least gives a contemporary view of a flapper with its Art Deco overtones.
Wildlife photography is not well represented and I can’t help wondering whether this is a live stoat caught in action or a stuffed specimen posed for effect.
“The Terror of the Desert” is one of my favourites from this collection with it’s almost surreal depiction of desert and cloudscape.
In Pseud’s corner we are offered “A Thrush Sings” and “All Nature is But Art.” There are others but these two will suffice.
It’s quite kitsch but I find “Three Ducks” rather charming.
I’ll finish with this photograph of “Ulla Poulson,” a kind of portraiture that Photograms of the Year does so well.
A series of four photographs all from the studio of Arthur Winter of Preston. This one has a date of 1935 on the reverse and handwritten “The Maid of the Mountains.” It turns out that “The Maid of the Mountains” was a successful light operetta performed often in the first half of the twentieth century by various different companies and troupes. A search of the British Newspaper Archive reveals the following advertisement:
So, although I can’t be certain, it seems likely from the date that the photograph is of the chorus from the Preston and District Amateur Operatic Society.
Three further photographs from the same studio and date are probably of dancers from the same Society.
Not sure how I feel about “AI” generated videos from old photographs but the results are always interesting. The software seems to have invented some extra dancing girls for “The Maid of the Mountains.”
A second video generation seems altogether unlikely and too modern in style.
It’s the middle of the war and this photograph is the only one in “Photograms of the Year 1941” related to wartime. Everywhere else it’s business as usual. An introduction was added after the volume was assembled and includes the following: “The fact that it includes practically no photographs of warlike subjects is an indication of the place that real picture-making holds in the hearts of the people who practice it. Camera records of various phases of the war at home and abroad may be left to the Press photographers whose business it is, through the illustrated papers and the newsreels, to show the world realistic details of what is being done to the world under arms.”
I take this to mean that only the kind of photos included in the volume are to be considered “real picture-making” whereas war photography is not. This seems not only wrong to me but ignores the artistry of war photographers and the documentary tradition. A corrective for today might be to look up World War II photographers using wikipedia though I note the omission of Lee Miller from both World War II photographers and holocaust photographers. (Her individual entry gets it right though).
Landscape in pictorialist style is well represented as usual as are still lifes:
There are the usual nudes and figure studies. For instance this example of using a classical reference to present a nude:
Personally I find “Idol” to be a much more appealing image and I note that, once again, the female nude is just as likely to be taken by a female photographer as a male one at this time.
“Cherry Time” is another example of the use of classical reference and a pictorialist style.
You won’t be able read the above but it is an example of 21 pages listing camera clubs in the UK which perhaps gives an indication of how popular photography was as a hobby, even in the midst of war. I note that the camera club to which I belong today was listed as being operational in 1941.
I recently obtained a 2 page article from The Sketch magazine dated September 18 1895 interviewing John Tiller and giving lots of details about his training methods and troupes. I’m constantly amazed by how many dance troupes he trained and named. As time went on he basically franchised his brand to other trainers so we may never have a full list of the troupes trained in the Tiller method.
Quotes from the article are all shown in italics. The images are also from the article.
“Who has not heard of John Tiller of Manchester? But some of us may not have chatted with the energetic and genial manager whose name is so intimately connected with the troups of dancing and singing girls who in fours, sixes, eights, and sixteens, raise out spirits as high as they kick their heels in the maddening whirl of skirt which adds to the abandon of their style. “
“To go to Manchester without calling on Mr Tiller would be like going to Westbourne Grove without paying Whiteley’s a visit – they both have something to do in the way of skirt-providing, by the way.“
I didn’t get the reference to Whiteley’s but wikipedia tells me it was an early department store that grew out of a dressmaker’s business. Hence the reference to “skirt-providing.”
“As long as our girls are respectable and respectably conducted we don’t lay too great stress on drawing from any special class. We don’t send them out before eleven. You say that’s full early; but remember that we have them educated under proper governesses, for we hold that cultivation of intellect is necessary to learning dancing.”
It’s surprising how young some of the Tiller Girls were and there are many questions to be asked about their welfare and treatment. On the other hand becoming a Tiller Girl was one of the few ways that working class girls could escape from their backgrounds. Although I don’t think she was ever a Tiller Girl, Jessie Matthew’s career, as given in her autobiography, was very much one of a working class girl finding escape through dance.
“Of course, you supply individual dancers?”
“Rather,” he replied with a confident smile. “Miss Ethel Neild, now at the London Lyric, comes from our school; Miss Any Knott will be principal boy at Huddersfield next winter; and Miss Bessie Cohen and Miss Maggie Rimmer are well-known soubrettes and dancers of pas-seula all over the provinces; while, if you have space, you might mention “Little Blake,” “Little Annie” and “Little Burnett,” who have been particularly successful in their “single turns.”
“I notice that you name your troupes differently. There are “The Fairy Four,” “Tiller’s Troubadours,” “The Forget-Me-Nots,” “Tiller’s Mascottes, “ “The Rainbow Troupe,” &c. What distinction is there between them?”
“Very little, except that each troupe has its own speciality. “The Tiller Troupe” is composed of our tallest girls, and “The Forget-Me-Nots” are the smallest; but they all dance and sing. They can do “cart-wheels,” the “splits,” and the high kick – indeed, everything that is done in fantastic dancing.”
The Sketch article is a great resource and all the more valuable for being contemporaneous with Tiller’s early work. By listing some of his dancers and the venues they appeared at, the article also adds to our knowledge of the music hall venues of the day. Who knows what else is yet to be discovered?
I recently became aware of a photographer called Kate Smith who was once a well-known pictorialist. Here’s a typical photo “By a Cool Stream.”
According to the Ebayer I obtained this print of “Nymph” from:
“Prominent Pictorialist Kate Smith was born near Watford the daughter of Joseph Gutteridge Smith (1823-1914) a paper manufacturer and Mary Elizabeth Hepburn (1834-1885). She exhibited at the Royal Photographic Society from 1903 until 1934 becoming a fellow of the RPS in 1927. Kate Smith had solo exhibitions at 35 Russell Square in 1925 and 1926 and was described by Cecil Beaton as perhaps “the precursor of Baron Demeyer”. She specialised in photographs of single female figures, nude or in diaphanous costume within romantic landscapes, many of her pictures being modelled by friends in her garden or nearby countryside. They were frequently published in society periodicals such as the Sketch and the Bystander between 1907 and 1914. In 1925 had the unusual honour of addressing the RPS in a lecture describing her approach to photography and working method.”
It is notoriously difficult to obtain information about early pictorialist photographers with the exception of a few famous names such as Clarence H White and Alfred Stieglitz. Web searches often yield little or nothing.
In this instance ChatGPT was able to find more information than other sources and the results were in agreement with the quote above and were referenced so we can probably trust them to be correct:
“Here’s what is known about the British pictorialist photographer Catherine Mary “Kate” Smith:
Her work embraced soft-focus, romantic, mythological themes—placing models in woods and countryside, dressed as dryads, fairies, or classical figures sistersofthelens.com+1timlaytonfineart.com+1.
🏅 Exhibitions & Recognition
First exhibited at the Royal Photographic Society (RPS) Salon in 1903; she exhibited almost annually up to WWI and again post-war sistersofthelens.com.
Joined RPS in 1908, became Associate (ARPS) from 1920, showcased her own one‑woman exhibition in 1925, and in that year earned Fellowship (FRPS) sistersofthelens.com.
📷 Equipment & Workflow
Often photographed around her home with a 3¼×4¼ Adams Vesta camera fitted with a Zeiss lens flickr.com+1flickr.com+1.
🌾 Notable Work
For example, Earth’s Bounty (1912) is a classic demonstration of her style—depicting a softly-lit, mythic figure in a wheat field—exhibited at the 1912 Salon flickr.com+1flickr.com+1.
📚 Summary Catherine Mary “Kate” Smith was a key figure in British Pictorialism, intertwining romantic narratives, soft-focus aesthetics, and myth-inspired themes in her photography. Her steady presence in RPS exhibitions, eventual Fellowship, and evocative images set in nature mark her as a distinguished contributor to early 20th-century fine art photography.”
The website Sisters of the Lens is a useful resource for finding information about other late nineteenth and early twentieth century female photographers.
After my previous post I decided it would be an interesting project to try and create photographs based on the various techniques that were used between the 1860s and 1950s. This project will be mainly undertaken using digital means rather than mechanical means mainly due to the excessive amounts of equipment, chemicals etc required. That’s not to say I won’t use original materials were possible. For instance I already have the chemicals necessary to produce Cyanotypes and have done so in the past.
So I’ve started with the wet plate collodion types, originally requiring large format cameras and very fast development times once exposures have taken place. I should also say that the wet plate collodion technique was used to produce a number of different outputs using glass plate negatives including ambrotypes and tintypes
I began with this self-portrait:
I used photoshop and the steps described by James Abbott in his youtube video. It was clear that many subtle variations could be achieved using his approach but I eventually arrived at this result:
I also tried an action produced by Gavin Seim from his signature emulsion collection with this result:
Of course it’s a matter of taste as to which approach works best but my personal preference is the middle one, following James Abbott’s steps, as it yields a warmer effect from the slight toning.
I’ll discuss the dry plate collodion method in a future post but needless to day it involves dry plates instead of wet plates! It also necessitates much longer exposures.
When thinking of “vintage dancing girls” your first thought might be of maypole dancers, such as the ones shown above. Although images of girls dancing around maypoles are common there’s no tradition that confines it to girls alone, You can find plenty of examples of boys and girls maypole dancing and, indeed, adults of both sexes.
Often maypole dancing goes alongside other traditions such as choosing a May Queen and would be part of much wider celebrations with many onlookers.
Postcards of maypole dancers tend to be more collectable and therefore more expensive to buy than other cards, especially if the location and date are given. Topographical RPPCs are probably more popular than any other kind and it seems natural that if you collect scenes from a particular town then you will want to have non-topographical materials from the same area. (Similarly cards showing floods or natural disasters from named towns are even more collectable and more expensive).
The wikipedia entry for maypole gives extensive details of the likely origins and appearance in other countries and traditions. Perhaps surprisingly the general conclusion is that the maypole is not phallic despite the explanation to the contrary given in The Wicker Man film and the popular imagination.
There are many other traditional “folk” dances to be discovered. This pipe dance is similar to Scottish sword dancing. The idea is that the dancers must avoid breaking the pipes as they dance around them.
The garland dance was apparently introduced by mill owners in the 19th century. In this case the wikipedia entry is light on detail though garland dancing can often be seen at folk festivals right up to the present day.
Then there’s clog dancing practiced throughout the North of England and Wales as well as being exported to the USA.
I will leave the consideration of female morris dancers for another post even though there are those that maintain it’s purely a male pursuit. (I’m not one of them).
This is from a collection of photographs that the owner has marked with an “X” to identify herself and others. If you look at the larger version of the first photo you’ll see she put an X above her head and on the dress of her baby (or is the baby her?) Because of the X files I’ve decided to call her Dana. Unfortunately we never learn her name. This photo is labelled “Me my mam and dad aunties and uncles.”
This photo’s labelled “me” so I take it this is Dana.
This is Dana’s Auntie Florence.
Two photos of Betty – was she Dana’s sister? The faded photo is dated 1943 and is the only photo given a date.
Marjorie and Betty at Batley. Below we also have Marjorie at the staff dance – again identified by an X.
Dana’s “mam and dad.”
Dana’s grandma – identified by the X on her blouse.
Blackie Binkie and Dickie.
I was hoping one of these gentlemen would turn out to be Dana’s father but she’s written on the back “John’s Father with his workmates from Yorkshire Copper Works.” There’s no clue as to who John is so it doesn’t help. Nevertheless the newspaper clipping provides fascinating detail.
Overall the collection illustrates some of the frustrations of collecting old photographs. Clearly there are intriguing stories behind them but nothing to definitively identify the subjects. From the notes and photography studio stamps we can place them in and around Leeds. Otherwise we can only be grateful for Dana’s “X”s to at least show some of the relationships.
My sister and I recently went on a “ghost hunt” at Belper Mills organised by “MJL paranormal.” You can see the video they produced after the event below.
I can’t say I encountered anything spooky but it was worth going just to see inside the East Mill as well as a lot of the rest of the mill complex. The event itself was well organised and stewarded and there was a very entertaining talk from Richard Felix, local paranormal investigator and ex “Most Haunted” presenter.
My only complaint about the event was that it was rather too organised and packed with use of various pieces of equipment. I would have liked the opportunity to just sit quietly in some of the rooms without the use of EMF meters etc.
(We previously attended a similar event at Strutt’s School Belper, run by a different group, which was more eventful especially when it came to “table turning.”)
I can neither confirm nor deny a personal belief in the supernatural.
