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.
The 1952 edition of Photograms of the Year contained the usual, sometimes odd, mixture of themes and styles. Pets continued to be popular subjects proving that cats and dogs ruled long before the advent of the internet. We forget that at this time getting a photograph published was only for the professional photographer or gifted amateur whereas today anyone can post on facebook, instagram and many other platforms no matter how good or bad their work is.
The photo of the black cat is entitled “Actor?” and is by Felipe Maiaru.
As usual, pictorialism is well represented as seen in Copmere by John D Jones and Dawn Departure by H S Newcombe.
I’m always complaining about weird photos of children and old men or ethnic types with lots of wrinkles in these older publications so it’s only right I’ve included examples to show what I mean. Ethnic wrinklies are still popular today whereas it’s difficult to imagine anyone publishing photos of crying infants. (I think I can say wrinklies because I am one myself.) You’re seeing Breaking Point by Ann-Marie Gripman and The Painter by Holt Madson.
Fireside Beauty by Karel Jan Hora is more aesthetically pleasing perhaps. And if you’re here for the nudes:
You’re looking at Juno by Joan Craven and Low Key by W.A.J. Paul. The notes that go with Juno say “Nude photography is one of the most difficult branches of photography with many pitfalls, but when it is successful it is usually more than justified. It must be idealised in some way or it merely becomes portraiture without clothes, which would not be regarded, to say the least, as in good taste.”
Finally you could expect to find several pages of advertisements at the end of each edition of Photograms of the Year. Often the adverts were surprisingly wordy though this one let a striking image do the talking.
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?
For me this photograph by Chin San Long is the outstanding image from this volume. Wikipedia has this to say about him:
Lang Jingshan (4 August 1892 – 13 April 1995), also romanized as Long Chin-san and Lang Ching-shan, was a pioneering photographer and one of the first Chinese photojournalists. He has been called “indisputably the most prominent figure in the history of Chinese art photography”,and the “Father of Asian Photography”. He joined the Roral Photographic Society in 1937 and gained his Associateship in 1940 and Fellowship in 1942. In 1980, the Photographic Society of America named him one of the world’s top ten master photographers. He was the first Chinese photographer to take artistic nude shots, and was also known for the unique “composite photography” technique he created.”
It’s well worth seeking out his other work but forget about buying an original print – you couldn’t afford it!
Elsewhere you can find more impressionistic images in keeping with the original aims of the annual.
Portraits are not neglected as you can see from these two examples.
And of course there is more than one obligatory nude.
Photograms of the Year always include long interpretive essays and I was struck by what Bertram Sinkinson has to say: “The tendency to produce bizarre effects in an attempt to be original is receding and in its place we have abundant evidence that the pictorialist is more conscious of his responsibilities in the creative sense.”
I was tempted to do a good, bad and ugly section but some of the ugly work is naff to say the least. One of the weird things that seems to feature in this publication and other photographic books and magazines from the early part of the twentieth century is shots of very young children crying. Why this was popular I have no idea!
Peggy and Mollie Bensaid, known as the Bensaid Twins, were a celebrated British dance and performance duo whose remarkable showbiz career spanned almost 70 years.
They began performing as part of a youth dance troupe and quickly gained recognition in theatres and summer camps across the UK. There are many photographs of them at a young age.
There are also photos of them performing solo.
During World War II , the twins toured extensively, performing for British troops and the American Red Cross. Later they reinvented themselves as Britain’s only female clown duo.
Apparently they were separated for many years but reunited in a nursing home. They also featured in a documentary about “Hundred Year Old Drivers” which you can find on youtube.
This is “Where countless feet have trod” by G E Pearson and appears in Photograms of the Year 1960.
Photograms of the Year was first published in the 1890s and went on until the early 1960s. It’s a bit of a mystery how it got its name as a photogram is defined as “a photographic image made without a camera by placing objects directly onto the surface of a light-sensitive material such as photographic paper and then exposing it to light.” However these annuals published photographs rather than photograms.
This one’s “A Cup of Coffee” by Hindrich Pundsack and I’d classify it as a street photograph, so more documentary than posed.
This portrait by Rune Lindscog belongs to the tradition of portraits influenced by classical paintings. ChatGPT tells us that “Photograms of the Year” was an influential annual photographic publication that began in the late 19th century, playing a key role in showcasing artistic and technical excellence in photography during its time.”
It also states the publication “included reproductions of high-quality prints—especially from the Pictorialist movement, which emphasized beauty, atmosphere, and personal expression in photography.” The work of Kate Smith (see previous post) would be more typical of the earlier volumes of this publication.
Of course no photographic review would be complete with the obligatory cheesecake style of photo though the range of such shots ranged from the more stylised work of Kate Smith to straight nudes.
I’ll post some more photographs from Photograms of the Year in future. Some of the work is still of artistic merit and some is not. Some techniques such as solarisation have aged badly in my opinion, unless you’re Man Ray. Other trends in photography just look plain weird to the modern eye such as portraits of young children, sometimes in tears, which are icky* to say the least.
I recently acquired a set of 20+ photographs of girls in dance poses. I assume these were taken to illustrate to other dancers the basic poses. The size of the photos is 2 inches by 3 inches and the quality is not great. There’s no information to show who the dancers were, who the photographer was or at what date they were taken. My guess is they date back to the Edwardian era. More poses from this series are shown below.
I would further speculate that these poses were influenced by Isadora Duncan and her followers as she often performed barefoot and in a short tunic.
This photo is larger and from a different source but you can see the same posing ideas being put into practice.
And here’s another set of dancers barefoot and in tunics.
And a solo dancer striking a pose. Once you start looking you will find many dancers who all seem to be working from the same templates.
Most of the photographs of the Windmill Girls were taken by their house photographer and publicist Kenneth H Bandy. This is a typical shot of the dancers and they are all named on the reverse: Renee Baxter, Valerie Trevor, Rosalie Waltham, Irene King, Renny Calvert, Hope Calvert, Jeanne Weatherstone, Thelma Ward, Pauline Colgate. After I’d published this photo on my flickr feed I was contacted by someone who told me Jeanne Weatherstone was his mum!
As you can see from this inside cover of the Revudeville annual publication the Windmill Girls performed multiple times per day and they were required to learn new routines every five weeks. There were also two sets of dancers; troupes 1 and 2.
The leader of the dancers was known as the Head Girl (not just at the Windmill but also for other troupes). This card is an interesting puzzle. Who was the “head girl” that this card was dedicated to? In the book “Remembering Revudeville” by Jill Millard Shapiro there’s a section written by Vivien Goldsmith about her mother Joan Jay. During the war the performers often slept overnight in the Windmill Theatre as it wasn’t safe to venture out during bombing raids. Goldsmith said it resembled a boarding school in some ways and that her mother Joan Jay “referred to herself as its head girl.” Joan Jay left the Windmill after 11 years to get married and I’m guessing the card dates from that time.
So who sent the card? The signature looks as though it’s Joy or Joyce. I can’t find a reference to a Joyce at the Windmill but there were four Joys. Comparing the card to photos in the Revudeville book I’d say it’s Joy Hunt but again I can’t be sure.
(The oddly shaped piece of card was on the back of the photo and doesn’t help. It definitely looks like “F/O Joyce” and then there’s “To: Pam Treves” who isn’t listed in the Revudeville book.)
All of the routines performed by the dancers were given spurious names to justify them.
The dancers performed both in groups and as solo dancers, such as Anita D’Ray shown above. The dancers also included males though I’ve not shown any here as the theme is “vintage dancing girls.”
At first glance it isn’t clear this photo should be classified as “vintage dancing girls.” However the models are named as Jill Antsey and Marion Lynde and a search reveals they were Windmill Girls in the 1940s so they would have danced as well as appearing in nude tableaux. This article www.arthurlloyd.co.uk/Archive/Feb2003/SpeedwayArticle/Spe… from 1948 gives more information. There’s mention of “Beryl Catlin and Marion Lynde rehearse a Spanish dance.” As for Jill Antsey you can read “A Lead in the current search for new British talent will be given by Daniel Angel Films in their musical-thriller “Murder at the Windmill.” More than a dozen youngsters who have never before been in front of a movie camera will be given a chance supporting Garry Marsh, Jack Livesey, Elliot Makeham, Jon Pertwee, Jimmy Edwards and Diana Decker. For instance, one of the juvenile leads will be played by Windmill girl Jill Anstey.”
The film “Murder at the Windmill” is listed on imdb and has been recently shown on Talking Pictures TV. (It’s not a great film but it gives you an idea of how small the theatre was).
A souvenir issue of the Revudeville programme was issued yearly and often featured gimmicks such as this one. The large seven being a cut-out leading to the fuller picture inside. You can find copies of the various editions on ebay for a few pounds each though some editions are harder to find than others.
Of course the Windmill Theatre was also famous for its nude tableaux and the dancers were also required to appear in these scenes. A clever loophole meant that nudity could be featured on stage so long as the girls did not move! You can see more examples of the tableaux, the photos by Kenneth Bandy and many more Windmill related ephemera at my flickr feed.
Egham is a town in Surrey adjacent to Runnymede where the Magna Carta was signed. The four photographs in this post were taken at the Studio, High Street, Egham. Date is unknown but I’d guess the 1920s or 30s.
The unusual thing about these dancers is how elaborate their costumes were. I don’t suppose they went to such lengths just for their own amusement so it’s very likely they performed in Music Halls or variety theatres. It’s possible they were in a local pantomime though again their elaborate costumes suggest something grander.
Of course there’s the perennial problem that the studio where the photographs were taken is not necessarily where they are from. If the troupe were touring then their home location could be anywhere.
Once again we’re confronted with the fact that there is insufficient information to identify the dancers or where they performed.
