Friday 19 June 2015

Sepia Saturday 284: Panel Prints and Coupon Prints

Sepia Saturday by Alan Burnett & Marilyn Brindley

My contribution for Sepia Saturday this week features a photographic format that was popular for only a brief period, and which often receives only cursory attention in photohistory texts, even though they are fairly commonly seen. In the late 1890s and early 1900s, more or less at the same time as amateur photography was taking off, a profusion of new formats were introduced, presumably in an effort to entice customers away from buying their own cameras and back into the studio.

Image © and courtesy of Colin Harding/Photographica World
Charles Howell's early studio at Pleasure Beach, Blackpool, undated
Image © and courtesy of Colin Harding/Photographica World

Among these were the panel print and its smaller sibling the coupon print, which appeared shortly after the turn of the century, had their heyday between 1905 and 1915. Initially the new tall, thin shape was probably a draw, but I have little doubt that their low cost proved the main attraction for both studios and their customers. At half a dozen for sixpence from Charles Howell's beachfront studio in Blackpool, they were half the price of the already wildly popular postcard portraits.

The examples featured below include a few from my own collection, and may not represent the full range that were available, but at least they give a fair idea of the format. I've attempted to keep the colours as accurate as possible, and on my screen they are displayed actual size, although they may appear differently to you, depending on the device being used to view this page. I've also provided a number of references to Geoff Caulton's very useful PhotoDetective 1901-1953 pages, which gives many examples of the rapidly changing fashions in hair, hats, clothing and accessories during that period.

Image © and collection of Brett Payne Image © and collection of Brett Payne
Two unidentified young women, c.1914-1918
Panel prints (56 x 121 mm) by D.A. Maclean of Middlesboro & Blackpool
Images © and collection of Brett Payne

These two young women probably visited Maclean's popular Blackpool studio during the Great War, judging by their practical swept back hair styles, V-necked blouses and white corselet skirts typical of that period. Since I acquired them in the same batch, the appearance of identical backdrop and wicker chair suggests they may have been taken on the same occasion.

Image © and collection of Brett Payne Image © and collection of Brett Payne
Two unidentified teenage girls in costume, c.1912-1915
Panel prints (54 x 113 mm) by unknown photographer
Images © and collection of Brett Payne

The younger girl on the left has her hair swept back in a transitional hairstyle, tied with what must be one of the largest butterfly hair bows that I've seen, popular from 1912 to 1918. The older girl has her down in what was sometimes referred to as her crowning glory, although the metal wrist cuffs suggest a costume of some kind. These two panel prints also have similar poses and an identical backdrop, and I wonder if they were sisters appearing in the same stage performance. Perhaps readers more au fait with theatre of the time might be able to suggest a classical play and/or character. Troilus and Cressida is the only one that comes immediately to mind as being from that era.
Post Script Thanks to Rob from Amersfoort, we now have a probable ID for the role being acted, i.e. that of "Mercia" from Wilson Barrett's 1904 four act historical tragedy, The Sign of the Cross, as shown here and here. Thanks Rob.

The wristwatch on the younger girl's left arm is an interesting accessory. It's actually a leather-cased ladies' fob watch popular during the Edwardian era.

Image © and collection of Brett Payne Image © and collection of Brett Payne
Unidentified young women, 28 April 1913 (left) and c. 1910-1915 (right)
Coupon prints (39 x 86 mm) by unknown photographer
Images © and collection of Brett Payne

The most striking feature of these two women is their enormous cartwheel hats, no doubt kept perched in place with long hatpins and a low pompadour hairstyle. The large-buttoned and belted jackets, probably worn over hobble skirts, confirm that these were taken some time during the decade before the Great War. Also noted in the right-hand portrait is the very visible reference number (7141, reversed), probably written in ink on the negative.

Image © and collection of Brett Payne Image © and collection of Brett Payne
Unidentified young woman and girl, c.1910-1915
Coupon prints (36 x 88 mm) by unknown photographer
Images © and collection of Brett Payne

The young lady on the left again has her hair in the transitional style characteristic of the pre-war period. The portrait of the girl is more difficult to date, because her clothing and loose hairstyle could be from any time during the period 1905 to 1920. The belted dress with slightly dropped waistline is similar to some seen in the early 1920s, but the lace collar is more akin to the pre-war period.

These coupon prints were designed so that four could be made from a single postcard cut into strips. The glass plate was probably exposed four separate times, using a card inside the camera, in front of the plate, to mask off all but the desired strip. The shadowing effects across the lower part of the portraits - light in the left-hand portrait, dark in the right-hand portrait - were produced by placing a vignetting card close to the camera, between the lens and the subject.

Image © and collection of Brett Payne
Unidentified woman, c.1908-1916
Coupon print (35 x 69 mm) by unknown photographer
Image © and collection of Brett Payne

The dark, simply ornamented and middle-waisted dress worn with a high frilled collar and long sleeves is also suggestive of the pre-war period. Her hair style, however, is suggestive of a couple of years later. Detailed painted backdrops became far less common after the war, photographers, and presumably their clients, tending to prefer plain or simply ornamented patterns.

Image © and courtesy of Paul Godfrey
Unidentified man and child, c. 1918-1920s
Coupon print (38 x 70 mm) by H.O. Seaman of Great Yarmouth
Image © and courtesy of Paul Godfrey

This coupon print by Herbert Oscar Seaman, scion of the well known Chesterfield (Derbyshire) firm of Alfred Seaman and Sons, is unusual in that it has a tiny number printed at the base, apparently with the aid of some kind of counter (better visible with an enlarged version of the image).

Image courtesy of the European Patent Office
Extract from patent GB190305361(A), 16 Apr 1903, by D.B. Seaman
"Improvements relating to Photographic Cameras ..."
Image courtesy of the European Patent Office

In 1903 Herbert's older brother Dennis Benjamin Seaman applied for a patent for a camera specifically designed to produce a series of such 1½" x 2½" images on a single photographic plate (Specification), while "a smaller lens projects an image of a ticket with a number or the like." It seems likely that the coupon print produced by Herbert Seaman, and likewise several others in the collection of Paul Godfrey, were made with an apparatus very similar to that designed by his brother.

Image © and courtesy of Peter Jones
Unidentified man in front of H.O. Seaman's Parade Studio, Yarmouth
Postcard print, Image © and courtesy of Peter Jones

The postcard photo shown above depicts the storefront of Herbert Seaman's Parade Studio in Yarmouth not long after the end of the Great War, and possibly with Herbert himself standing at the front door. In the window is a sign advertising "12 LARGE MIDGETS FOR 1/-." Given that he was selling a dozen postcard prints for two shillings, it seems likely that the "midgets" were commonly referred to as coupon prints.

Image © and courtesy of Robert Pols Image © and courtesy of Robert Pols
Two unidentified woman, taken c. late 1920s
Coupon print (43 x 88mm) by While You Wait Photographs,
The Beach Studio, 12 Lower Promenade, Whitley Bay
Image © and courtesy of Robert Pols

Image © Peter Fisher and courtesy of SmugMug
Bessie Fisher, 2 August 1929
Panel portrait (unknown dimensions) by Charles Howell, Blackpool
Image © Peter Fisher and courtesy of SmugMug

The popularity of the format declined considerably through the 1920s, and by the end of the decade they were largely relegated to seaside arcades (above) and photobooths (below) as a novelty format.

Image © and collection of Brett Payne
Novelty format displaying weight of unidentified woman
Panel print (47 x 103mm) from photobooth, dated 10 September 1935
Image © and collection of Brett Payne

I'm very grateful to Paul Godfrey who has shared his collection of images, extensive knowledge and the results of his research. I'd also like to extend my appreciation to Colin Harding, Peter Jones, Robert Pols and Peter Fisher for graciously permitting me to use images from their collections in this article.

For those who find the plethora of photo formats a little confusing, I've prepared a photo format size guide as a PDF file which you can print out and use to gauge photographs from your own collection.

22 comments:

  1. Reminds me of the elf helpers who used to snap Polaroid pictures of children on Santa's knee in dept. stores, & so forth. I suppose Polaroid cameras are still around, but their popularity has been greatly diminished - due mostly to digital cameras & Smart Phones I would guess?

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    1. Gail - Yes, I've read several articles about how the digital trend has resulted in very few photographs being printed out any more. Coincidentally, I am considering buying a tiny pocket photo printer (Polaroid PoGo or Fujifilm Instax, so that I can share prints of portraits with the subjects almost immediately. It's what several well known travel photographers do nowadays, as a way of connecting with their subjects.

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  2. I have not heard of panel prints or coupon prints but maybe that's because I have not run across any in my old photos. So interesting. Your clues for dating the photos are helpful to me. Thanks for including those!

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    1. Wendy - I use that web site a lot. It's UK oriented, though, so may not "fit" very well with US fashion trends.

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  3. Coupon prints is a new term to me but I’ve got a couple of photos that may well have been in that format originally as they are quite small. The Photo Detective site is a great find and I’ll be returning there I’m sure.

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    1. Marilyn - I'd be keen to see any that might be of that format, particularly if they are accurately dated.

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  4. It seems like I have seen one of these little prints in my collection. I'll have to keep my eyes peeled.

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    1. Kristin - I don't know if they were ever popular in the US, so if you do find it, I'd be interested to know.

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  5. Brett - as always - your post is fascinating. Some of those photos are so clear you could swear they were taken today. Thank you too for your handy photo format size guide. You are very generous and thoughtful.

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    1. Alex - By the early 1900s, photographic emulsions had developed (no pun intended) to such an extent that very fine resolution could be obtained, and enlargements became much more popular. Glad you found the format size guide of some use.

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  6. I've seen that size photo, but hadn't heard the term 'coupon prints'. 'Large Midgets' is an interesting term! A very enjoyable and interesting read.
    Thanks very much for the pdf.

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    1. Lisa B - Yes, I thought the use of "Large Midgets" was a bit strange. If you find any coupon/panel prints whicn are dated, or of a different size to those I've displayed, I'd be very interested in hearing from you.

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  7. Very informative. I don't know the fashion clues and hadn't heard of lady's wrist fob watches or coupon prints before..

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    1. Postcardy - I think coupon/panel prints were commonly used in the UK and Europe, perhaps not so much in the US.

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  8. This was a new format for me too, though I remember some of the photos from your earlier posts. It's fascinating how early photographers adopted and then improved on new camera technology. Not unlike the changes in computer designs.

    Is this coupon print format a British or European size? I've never come across it in American photo collections.

    Thanks for providing the photo format chart. It will be a very useful tool with my collection.

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    1. Mike - Yes, you guessed right, it was popular in the UK and, to a lesser extent perhaps, in Europe, but I've not seen any examples yet from the US. I'd be happy to be proved wrong, though. The format guide has only the most popular sizes, - there are others which didn't make it onto the guide for lack of space.

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  9. Never before heard of coupon prints. But I always learn so much from your posts, Brett -- and, again, you've not failed me!

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  10. I have seen these formats, and in fact have a couple in my archives, but I never knew what to call them -- besides "tall and skinny" and "little." I look forward to your posts for the wide array of useful information for my own use, in addition to the interesting spin you put into play with your photographs.

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    1. Joan - Thanks for your kind works, and glad that I've been able to help.

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  11. The first character that came to my mind, seeing she is in chains, is Mercia from The Sign of the Cross (example and example).

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    1. Rob - Thank you so much for this. I knew I'd seen the character somewhere, and I feel that you must be right. I'll amend the article accordingly.

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