And furthermore ...

One Man's Treasure encourages the use of anonymous photographs posted here to illustrate books and album covers.
If an image appeals to you, contact John Toohey at johntoohey@hotmail.com.

Thursday, 13 August 2015

A FACE IN THE CROWD


 7 portraits found at Spitalfields Market
I leave you my portrait so that you will have my presence all the days and nights that I am away from you.
Frida Kahlo


At London’s Spitalfields Markets on a Thursday (which may not be heaven for photo collectors but is close enough) one of the stall operators was busy cutting up proof sheets of portraits. Each sheet had about fifty photographs, each of these three by three centimetres, and wisely or otherwise she had decided that selling the photos individually rather than the sheet was more profitable. You’d think someone would snap up a sheet of fifty portraits of the same person, each from a different angle or with a different expression, but then just one photo is a find in itself. These probably came from the same studio and one is dated July 1943. With the exception of the one above, the subjects have written a message on the back to someone else.

 
 To dear Pat, wishing you all the best Daphne.
Now, several weeks and a few thousand kilometres away from Spitalfields, I regret not buying the lot, but if I had a dollar for every time I held back from an impetuous buy … In any case, seven is a good number being just a little more than too few without being so many as to be monotonous. Pollsters use the term ‘snapshot’ to describe a sample that is too small to be statistically relevant but which might reveal a trend. Here we have a snapshot of a part of society that mattered a lot in 1943 – young middle class women who were too young to be married but wouldn’t be in a couple of years, when Adolf and his horde of storm-troopers had been vanquished and society was on the road to being put right again. As the old vicar might put it in his Sunday sermon; thousands may have died defending Britain but from the loins of these young lasses would spring forth England’s future. I believe that is exactly how vicars spoke back then.



 To Knock Knock with love from Jeanne.
‘Knock Knock’ is, I suspect, the nickname of a woman. At least, in a Muriel Spark short story Knock Knock would be a girl’s name, belonging to someone who either possessed a ‘dear’ sense of humour, meaning that she tried awfully hard but seldom raised so much as a snicker, or she was famed for her bad timing. We don’t need to know anything about Knock Knock’s milieu; her nickname tells us everything. She will marry a nice, professionally adequate, emotionally ineffective man. Jeanne won’t, but she might wish she had.


 To Patricia, in memory of many awkward moments in the back line and a few blissful moments of graduation, with much love from Sonia.
Well this tells us something we might have already guessed but needed evidence to confirm. These girls are graduating from high school, or as the English had it back then, Fifth Form. This idea of getting a block of photos printed that could then be distributed among school friends is a custom we have seen in Turkey and in France and it makes sense as lives are now about to diverge and in some cases plunge headfirst into the unknown. Others will have things mapped out, including marriage to that lad currently flying his Spitfire above the Channel in search of the Hun. The back line, if we are talking sports, is most likely hockey or netball. Awkward moments probably refers to goals let through, and perhaps it was fat, ungainly Patricia who took the (dis)credit for that.


 To one of the sacred-ites, love and best wishes, Nancy.
Sacred-ites tells us we are dealing with what the English confusingly refer to as a public school (meaning one that is ruthlessly exclusive) and it remains a rule that a public school with ‘sacred heart’ in its name is for girls because that is a distinctly feminine concept. We can’t be sure; perhaps there was a clique of young lasses known as the sacred-ites on account of their direct access to the headmistress in matters of class discipline, but I think Nancy was writing out farewell messages as fast as she could on account of her hurry to be rid of the place. Not for her a year in secretarial college followed by marriage to Captain Smithers-Jones with his one leg and his war pension. No. We think Nancy had been seeing an American G.I on the side and was already convinced that Oklahoma was everything London wasn’t.


 To dear old Pat, in memory of all those good old times and I hope some more in the future. Much love Audrey, July 1943
The idea of having these small portraits taken then distributing them among your classmates, even girls you could not have walked past without a shudder in the last five years, touching, not the least because it would be unthinkable today. Whatever the younger generation exchange today (I rather hope it is smallpox and they all die out soon) there is something very much symbolically permanent about the photograph. It says, ‘remember me always, but remember me as I was, not what I shall be’. Somehow we leave school and get thrown into life’s gnashing jaws without taking stock of that simple plea. Years later we read a story in the newspaper of some sad event and all we have is that fleeting memory of a face to give it substance. How much sometimes we’d like a photo, a physical reminder of someone we once knew, even if that was against our will.


 To Grandma, with all the very best in your dancing career, Joy Gelden.
The best is saved for last; a brief message laced with cruelty. Grandma? In my day there were only two reasons girls at a public school would call one of their own that and it had to do with either her outdated principles or a physical handicap. Perhaps Grandma refused when it came to having a fag behind the gardener’s shed but in my experience dancers are more than fond of that idea. And let’s not ignore the obvious, that ‘grandma’ and ‘dancing career’ shouldn’t go together without at least a little vinegar to bind them. The feeling is that Joy couldn’t care less about Grandma’s dancing and actually finds the idea of turning it into an earner more than preposterous. But this is wartime and things are changing. Let’s go forward ten years, to the Royal Albert Hall, and as Grandma returns for the third encore she bows and through the dense tobacco smoke catches a glimpse of a sweaty, bilious figure in the fourth row. “Is that Joy?” She thinks as she bows again. “Heard she married that MP who got done for young boys last month. Poor girl.”


A FACE IN THE CROWD

Friday, 7 August 2015

THE IMPORTANCE OF BEING EARNEST


Real photo postcards from the Edwardian stage
“Romance at short notice was her specialty.” 
Saki; The Open Window


 Real photo postcards of actresses are one of the enduring legacies of the Edwardian era; ‘enduring’ to mean lasting although the general impression from a recent visit to the Spitalfields Market was that interminable would be more apt. Not surprising when you read how many thousands of millions of postcards were published then sent each year of the 1900s and how photos of stage actresses were far and above the most popular category in Britain. But amidst the glut of portraits of women in ubiquitous broad-brimmed, feathery hats and puffy blouses, with their stiff composures and curiously sexless expressions, there are occasional images that catch the eye. Just about every one of Hettie King will do that. She was one of several actresses who made an art of male impersonation. It seems that while transvestitism among the citizenry could always create an absolute scandal in the late Victorian and Edwardian era, gender impersonation in the theatre was a specialized skill and in demand, with none of the connotations of sexual or political transgression apparent today.  Of course, Ms King was a comic actress: she played the man for laughs, and laughs in the Edwardian theatre were often of the double entendre type.



It was already a convention in pantomime that the crotchety widow or the scheming stepmother was played by a man; this was comedy after all. When J. M. Barrie’s play Peter Pan debuted in 1904 it was standard for the lead character to be played by a young actress. The play’s subtitle was the boy who wouldn’t grow up and gender ambiguity was a useful metaphor for somebody trapped in a physical and emotional cocoon. Zena Dare was one of the first actresses to play Peter Pan. Here she is as Napoleon, another comedic role for which the English typically cast women. Well that must have stung Gallic pride, or perhaps not since the Paris music halls had long taken cross-dressing to places the English theatre nervously avoided. 


 Zena Dare is one of those people, like Gabrielle Ray. Lily Elsie and Marie Studholme, who were prolifically photographed for postcards in the 1900s yet whose name barely stirs a hint of recognition today. This is inevitable when we think of the thousands of actresses and advances in technology since the 1900s, yet it might be also reflect a particularly British attitude. Where the French loved scandal and their theatre stars made the most of that, over the Channel the female artistes were presented as having much more sensible private lives. If the reputations of Cléo de Mérode and Caroline Otero live on it is for their behaviour off-stage whereas someone who enjoyed a few years in the West End limelight then married well and retired from the stage to cross breed apples on the Sussex Downs would at best be damned with faint praise by being heralded as a national treasure. 

                       
 Not everyone was so apparently blessed. During the first decade of the last century, Gabrielle Ray was reckoned to be the most photographed woman in the world. Though she was acclaimed as an actress and dancer, a look at her résumé suggests she wasn’t being called to play Lady Macbeth or Juliet or any of the other roles that defined a special talent. It may have been her looks alone that attracted so much attention, in which case her tragedy was as typical as it was awful. Agents, directors, producers – especially fat, white and ugly ones – can love a face without caring what lies behind. Even a casual reading of Ray’s biographical details suggests her alcoholism had something to do with her being marketed for her face not her acting. In 1936 she suffered yet another breakdown and spent the rest of her life – all thirty seven years of it – in psychiatric institutions.
Here’s a good quote from Ray found on the Footlight Notes page. As she makes clear, kissing was fun in 1906, but not as much as tearing about the countryside in a motor car: I have done a lot of motoring, but very little kissing. At the same time, I think it would be a pity to discourage those who like kissing because it seems to please them very much. If I have by accident kissed anyone I have never heard any complaint about my mouths; but there, you see, I put cream on my face when going out in a motor-car, because before I used to do so the wind made my face very dry.”


 We’ll get back to the subjects but we can’t ignore the photographers: William Downey and his son Daniel, Alexander Bassano, the sisters Rita Martin and Lallie Charles (previously discussed HERE) and Francis Foulsham and Arthur Banfield, whose work Cecil Beaton dismissed as “rather quaint in (its) woodenness”. To be fair, that same criticism could have been levelled at most of the photographers, and to be fair again, it wasn’t always their fault. You get the impression with some people that they couldn’t make the intellectual jump between appearing on stage and before a still camera. Maud Jeffries was an international star, pulling in full houses from London to New York to Sydney, especially for the faux biblical epic The Sign of the Cross. You wouldn’t know it from this image. She looks like someone shoved a papier-mâché crucifix in her hands and told her to look fearful of the Lord. This inability to perform for the camera is a common complaint from the period, and comes from photographers, producers and actors. Numerous Edwardian performers will spurn the cinema while others will take it on and fail. The typical explanation is that the actor needs the human presence, the applause and even the heckling, in order to perform. 

 
 Being a photographer to the stars carried responsibilities. The studios above also photographed royalty and anyone else who required an official portrait. What mattered most to their non-theatrical subjects – royals, politicians, etc – was that there be no surprises. Politicians showed gravitas, the prince dignity. They were expected to be a lot more creative with stage performers, which could be hard when the process was a treadmill. Faced with a client list of several dozen performers, each demanding the special touch, even the best photographers could exhaust their repertoire. In the same way, some tricks could startle at first but quickly became clichéd. Phyllis Dare was Zena Dare’s sister. Born in 1890, she began acting when she was nine and by the time she was fifteen was a star in light comedies. When she was seventeen (around the time this photo was taken) she published her autobiography and became one of the first in a long line of juvenile performers to author a necessarily thin and vacuous account of a life so far unlived. The title was From School to Stage, which sounds like it covered everything.

 
 For some of us, the very definition of a perfect Friday afternoon involves sitting down with a pile of century old directories and tracking down long forgotten photographic studios. No matter what joys the exercise holds, there are times when running into brick walls becomes tiring. Who was Kilpatrick? It was usual though not compulsory to attribute the photographer or studio on the postcard but Rotary, which published the card, only licensed the image. There was a studio belonging to a Kilpatrick in Dublin and if Ms Studholme travelled to that city for a performance and the studio paid to photograph her, it could have sold the image on to Rotary. Given that Ms Studholme performed in America and what the English quaintly refer to as ‘the colonies’, the studio could have been anywhere in the English speaking world. Her costume here looks Wagnerian, but operetta rather than opera. 

 
 Here’s another minor mystery. This portrait of Lily Brayton is credited to Johnston and Hoffman, recognized as one of the leading studios at the time – in Calcutta. The National Portrait Gallery in London have 52 portraits by the company in their archives, mostly of theatrical stars. Either we are talking about two companies having the same name or Johnston and Hoffmann opened a branch in London. The latter seems more likely, but if so you’d think that would warrant a mention in the entries found in various encyclopaedias. Once again we have a case of the gender role reversals and while there is a passably interesting history of women dressing as eighteenth century highwaymen, what’s really interesting about this is that we see a really professional use of electric lighting. This was uncommon in the early 1900s. Electric lighting was still too expensive for a lot of studios and even those who could afford it needed to relearn photography to understand how to use it properly. 

 
 Dover Street Studios are another commonly encountered name. Interesting that among a dozen or so sighted, variations on the Gibson girl look are prominent. It looks like the studio had an agenda. The GG’s identifying features were her hairstyle and the long, tight dress or gown, both seen here in Ms Gertie Sinclair. It was actually a North American fashion. The graphic artist who designed the look, Charles Dana Gibson, wanted to capture the essence of the ideal American women, whose very modernness he attributed to a composite of cultural ethnicities and attitudes. I don’t know how successfully the Gibson Girl caught on in Britain.

 
 The cabbage is a nice touch. Here Ms Millar wears the costermonger’s outfit that inspired the original pearly kings and queens, Like Peter Pan, Aladdin was an obviously male figure commonly played by women and the musical, The New Aladdin transplanted the oriental story to London. 

 
 Here’s a well-known study of the Moores, theatrical family of course, of whom Decima and Eva became the best known. As discussed in the post on Rita Martin, the relationship between the theatrical world and the suffragettes was more convoluted than you might think, and thanks in no small part to the suffragettes habit of throwing gas bombs into theatres and ruining performances. The Moores however were firmly behind the movement to give women the vote and were among the founders of the Actresses’ Franchise League, which among other activities produced the plays, How the Vote was Won and Votes for Women. I want to say more but do the research yourself. It’s worth the effort.

 
 And here is Eva Moore with her son in an image that is strange on several levels though in Edwardian England it would have met with widespread approval. These portraits of actresses with their children are more than commonplace. They are a reminder of the sharp distinction between London and Paris, where it was advisable for an actress not to indicate she had a family. They were also a protest against the popular image of the stage as the home of outcasts and other ne’er do wells. How better to show the world that the theatre was not only glamorous but also respectable than by showing actress mums with their kids. Except of course that young Master Moore looks miserable, as you might if Mum had made you put on a clown costume then dragged you before a camera.

 
 There are of course many postcards of male actors and there is a world waiting to be read in the differences between the two, but let’s end with an image of one of the best known female impersonators of the age, Malcolm Scott. Like Hettie King, his choice of role was no indication of his orientation and it seems he lived an otherwise ordinary life with wife and family in the suburbs. What’s to like about this photo of course is its various assumptions. We are told that is Mr Scott but we don’t know for sure. For all we know it could be Hettie King playing Malcolm Scott playing Hettie King; a conundrum we think made perfect sense to the Edwardians. We are lucky that so many of these photographs lie scattered throughout flea markets in abundance. In an age when some people think they can charge small fortunes for snapshots they didn’t take but bought for 25 cents, it’s great to have so many images from the Edwardian theatre, a world that is both familiar and disruptive.


THE IMPORTANCE OF BEING EARNEST

Saturday, 25 July 2015

WALK DON'T RUN


English street photographs from the 1930s-1940s
“When all is said and done, monotony may after all be the best condition for creation.”
   Margaret Sackville


Of all the forms of commercial, domestic photography practiced during the middle years of the last century, that which belonged to the itinerant street photographer was the most diligent in its ordinariness. Armed with a medium format camera, a flashgun, a fistful of business cards and a resolute nerve, photographers took up position on particular street corners, at either end of bridges and outside department stores and fired away at passers-by. They cared nothing for the quality of their images but worked with the confidence that most of their printed images would look the same. Unlike studios for whom a painted backdrop or a style of lighting could be a hallmark, these photographers were after the ultimate in innocuity: they wanted their work to look just like everyone else’s. 

 
 The street photographers were pedestrian in every sense of the word. They weren’t keen on photographing themselves so we don’t have many images of them at work yet we imagine a kind of shabbiness: an overcoat stained where passing traffic has thrown up mud, a tie that has become loose as they jump out in front of people all day then chase them with their cards and a hat picked up too many times from a grimy pavement. It was a job that required a polite but tough edge. You couldn’t let passers-by pass you by without getting them to pay for the photo. Once they had done that and received the business card with the I.D number on it and the reminder to call by tomorrow, it was time to chase after the next person. The lunch hours between twelve and two would be especially hectic, as would be the end of the typical workday around five or six. During both periods the population on the street swelled but just as importantly the photographers were likely to catch a customer in a good mood.  What with a steak pie and a couple of real ales under his belt a man would be more willing to pay for a snap than if he was hungry or he had to hurry back to a pile of paperwork. 

 
 All of these postcards come from Britain though itinerant street photographers were found across the globe. Away from London and the big cities they haunted the seaside towns, where again, vacationers were likely to be in a good mood. Like climbing into the fake car or putting your head through the hole above the painted female body, having your photo taken on the pier or the promenade was probably one of those things you did on a holiday at Margate or Blackpool. 


The giveaway for itinerant walking pictures is the number usually scratched on the negative but sometimes stamped on the back. Prices varied but a standard three and a half by five inch postcard cost around twelve shillings or (roughly) half a pound. Getting a group this large together probably took some effort to organize but the pay-off was several pounds in orders. My guess is that the photographers worked for commission. The more they sold the more they were paid so a photo like this represented a small coup.

 

We know the names of some of the companies because the postcard carried their names stamped on the back. According to this useful site, Walking Pictures, walking photos were just one service the typical company offered along with standard interior portraits, processing and printing and film and camera sales. To paraphrase Keith Richards on his music: “Art was short for Arthur”. 


Yet if thinking of these images as art is frivolous we shouldn’t otherwise think of them as trivial. Like the actual photographer, the people in the photos are usually anonymous but these belong to the age of Mass Observation and the Recording Britain project, when documenting British society in thorough detail was believed to be a valuable research process for understanding how the nation’s future stood to unfold. What we ended up with was a vast collective snapshot of Britain. Admittedly most of the subjects are happy, there is really nothing to illuminate what was troubling them or whether they even cared about the well-being of the nation, but there are clues in the ways that people dress, their postures and in other minor details that tell us not to trust the usual stereotypes. 

  
Sometimes banality is so intense, the idea or the image gets repeated so often that it passes through monotony and becomes compelling. We can get this with these images, in the way they draw us into the illusion that we are able to read something about the people or the society from them. And then there is the statistic that there are so many millions of them out there that surely their presence must amount to something worthwhile.


WALK DON'T RUN