Sepia Saturday 284: Panel Prints and Coupon Prints

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.


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.


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.


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.


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.


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.


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.


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).


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.


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.


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

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.


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.

Sepia Saturday 281: Home Duties

I recently purchased a box containing nineteen exposed 4" x 5" glass plate negatives. They depict various women and children, some of whom appear to be members of the same family. Sadly there are no notes or provenance to provide clues as to their origin but, as I will show, the batch appears to have survived as an intact collection. In other words, they probably belong together. They have little in common with this week's Sepia Saturday theme, except that two of the images show children engaged in what might with some latitude be called "home duties."


As with my recent studies of small photographic collections, A Grand Tour of Europe and Summer Holidays in Derbyshire, this group appears to have been taken in the early years of the twentieth century. Unlike the other two groups, these 19 photographs appear to have been taken over and extended period of time, covering several years in the lives of a family living somewhere in New Zealand. None of the photographs are annotated, nor is the box that they arrived in, so all provenance has unfortunately been lost.

One of the purposes for my showing these images is to demonstrate the process that I go through when researching such collections, in an an attempt to decide whether they are linked to each other in any way and, if so, then to try and establish a theoretical framework around the subjects. In many cases this may never lead to an positive identification but occasionally I have breakthroughs.


Image #09 - Three teenage children ("Agnes," "Charlie" and "Bertha")
5" x 4" (127 x 102mm) glass plate negative, unknown photographer
Image © Copyright & collection of Brett Payne
I'll start with this nicely focussed snapshot of three teenage children, two girls and a boy, seated on a grassy bank in the shade of tree. Just for convenience I'l call them "Agnes" (left), "Bertha" (right) and "Charlie." The girls have taken their hats off, while the boy, who looks as though he never bothered with one, is eating what looks to me like a dark-skinned plum. The clear images of these three individuals allows us to follow them through several years.


Image #14 - Three young children ("Agnes," "Bertha" and "Charlie")
4" x 5" (102 x 127mm) glass plate negative, unknown photographer
Image © Copyright & collection of Brett Payne
This image is partly out of focus, possibly blurred from movement and slightly over-exposed, but I think that the same three children are pictured hanging up the washing, although this must have a few years earlier. "Agnes" is handing a peg to "Bertha" and barefooted "Charlie" appears to have carelessly dropped the tin of pegs on the ground.


Image #05 - Three young children ("Bertha," "Agnes" and "Charlie")
5" x 4" (127 x 102mm) glass plate negative, unknown photographer
Image © Copyright & collection of Brett Payne
The trio are probably at the beach on this occasion, younger still, with one of the girls wearing a rather impractical cap which must have been difficult to control when the wind got up. "Charlie," seated with legs apart at right, is "unbreeched."


Image #16 - Young boy ("Charlie"), possibly with his mother ("Doris")
4" x 5" (102 x 127mm) glass plate negative, unknown photographer
Image © Copyright & collection of Brett Payne
Young "Charlie," here dressed in a Fauntleroy suit popular in the 1890s and early 1900s, appears with a young woman aged in her late twenties or early thirties, seated on a wicker chair, who I think might be his mother and who we will call "Doris."


Image #08 - Young child with doll on wicker chair (possibly "Charlie")
4" x 5" (102 x 127mm) glass plate negative, unknown photographer
Image © Copyright & collection of Brett Payne
An even younger child sits confidently in a different wicker chair placed on the lawn, holding a doll. Despite the presence of the doll, the child's facial features suggest to me that this, too, is our "Charlie."


Image #10 - Young boy in school uniform ("Charlie")
4" x 5" (102 x 127mm) glass plate negative, unknown photographer
Image © Copyright & collection of Brett Payne
Here is "Charlie" dressed in somewhat smarter attire, perhaps ready for his first day at school. The background to this photograph includes the wall of a house, possibly on a verandah or adjacent to an extrance, an upholstered straight-backed chair and a floral carpet.


Image #04 - Older woman ("Eliza") & teenage girl ("Frances") on verandah
4" x 5" (102 x 127mm) glass plate negative, unknown photographer
Image © Copyright & collection of Brett Payne
An almost identical background, only the chair having been changed, appears in two further photographs depicting three more women. In the first portrait an older woman (I'll call her "Eliza"), perhaps in her sixties, is sitting on the chair, while a different teenage girl (say "Frances") is seated on the carpet at her feet.


Image #17 - Middle-aged woman seated on verandah ("Doris")
4" x 5" (102 x 127mm) glass plate negative, unknown photographer
Image © Copyright & collection of Brett Payne
The third verandah portrait shows the middle-aged woman - I'm guessing she is in her late thirties to early forties - we've previous identified as the boy's mother ("Doris") sitting in the same chair. Unlike the others photographed on what may be the same occasion, who face directly into the camera lens, her gaze is off to the right of the photographer.


Image #02 - Middle-aged woman seated outdoors ("Doris")
4" x 5" (102 x 127mm) glass plate negative, unknown photographer
Image © Copyright & collection of Brett Payne
Within the same general time frame, but probably on a different occasion, "Doris" sat for another portrait outside her home. The same mouldings that appear in other images of their home are featured prominently in this shot, taken when the shadows were long, but still with enough light to make a decent picture. She has a low pompadour hairstyle and is wearing a leather-cased ladies' fob watch, both of which were popular in the decade immediately preceding the Great War, i.e. between c. 1905 and 1915. The jigsaw embroidery on the front of her blouse and hobble skirt with large buttons are typical of the same period.


Image #01 - Two young women reading ("Agnes" and "Bertha")
5" x 4" (127 x 102mm) glass plate negative, unknown photographer
Image © Copyright & collection of Brett Payne
Relatively few shots in this series show the surroundings of the house, but one that does is this view of the two girls ("Agnes" and "Bertha") seated in the garden, reading. "Bertha" has bagged the comfortable canvas folding deck chair, while "Agnes" has to make do with a dining room chair set partially in the shade. The presence of tree ferns indicates a strong likelihood that these photos originate here in New Zealand, where they were purchased. They both wear sensible wide-brimmed hats, Bertha's being of the distinctive cartwheel type. The house itself has a wide verandah along at least two sides, and a wooden railing in a stylish geometric pattern.


Image #12 - Teenage girl and apple tree ("Agnes")
4" x 5" (102 x 127mm) glass plate negative, unknown photographer
Image © Copyright & collection of Brett Payne
There are two further portraits of "Agnes" on her own. In the first of these she is standing next to what I believe to be an apple tree, dressed in the same clothing as Image #09, but with her hat on. More prominent in this photo is the narrow velvet choker around her neck, a fashion that arose with the appearance of lower necklines around 1905 to 1910.


Image #19 - Teenage girl, possibly in school uniform ("Agnes")
4" x 5" (102 x 127mm) glass plate negative, unknown photographer
Image © Copyright & collection of Brett Payne
In the next photo "Agnes" is seated in a chair, possibly on the verandah of the house, but in a different location from portraits #04, #08 & #10 displayed above. She is wearing what I think might be a school uniform, with a smart jacket or blazer, dark leather gloves, a tie with a shield and emblem embroidered on it, a straw boater with a broad striped hat band, and her hair tied up with a large bow at the back of her neck.


Image #11 - Three women in the garden ("Agnes", "Eliza" and "Gertrude")
5" x 4" (127 x 102mm) glass plate negative, unknown photographer
Image © Copyright & collection of Brett Payne
In a group portrait "Agnes" is seated with two older women, both on chairs placed on the path in front of the house, one of whom is "Eliza" from Image #04. She has a high-necked collar and is holding a pair of spectacles in her lap. The third woman, wearing a white blouse and tie, I will call "Gertrude."


Image #03 - Two women on the garden pth ("Gertrude" and "Eliza")
5" x 4" (127 x 102mm) glass plate negative, unknown photographer
Image © Copyright & collection of Brett Payne
A view of the garden path immediately to the right of the previous image shows "Eliza" and "Gertrude" dressed warmly in furs and large feathered hats walking towards the house.


Image #18 - Teenage girl on windowsill ("Frances")
4" x 5" (102 x 127mm) glass plate negative, unknown photographer
Image © Copyright & collection of Brett Payne
The third girl ("Frances") is depicted in another portrait, also taken on the verandah, although she is seated precariously on the wide windowsill. Her clothing and hair style are identical with that worn in Image #04, and the two photographs are likely to have been taken on the same occasion.



The Picasa album slideshow above shows the full set of images in the approximate order that I believe they were taken, probably over a period about a decade some time between the years of c.1900 and 1915.

My analysis of the family is as follows:
- Agnes, Bertha and Charlie are siblings, probably born in the late 1890s to early 1900s
- Doris is the children's mother, probably born in the mid- to late 1870s
- Eliza is the children's grandmother, probably born in the 1850s
- Frances is possibly a cousin of Agnes, Bertha and Charlie, and a similar age to them
- Gertrude may be a friend or a relative, possibly a maiden aunt
I must reiterate that these aren't their real names; I've merely invented them for the sake of convenience.

It's possible that a positive identification of this family may be made eventually but, in the mean time, if you spot any further clues or even disagree with any of my rather tenuous deductions, please don't hesitate to get in touch or leave a comment below.

Sepia Saturday 188: The Cornwall Coast in Colour

A couple of months ago I purchased a large collection of glass plate negatives, and used several of these to illustrate a piece I wrote for Sepia Saturday about a visit to the Pleasure Palaces of Southport. In the second of a planned series of articles about this intriguing collection we return to the English coastline with six colour positive glass plate slides taken by an unknown amateur photographer.

The six slides each measure 89 x 63mm (3½" x 2½"), with the printable area roughly 3¼" x 2¼", corresponding to the standard quarter-plate format used by most amateur glass plate cameras in the early to mid-1900s. All six are coastal views but, like the rest of the collection, none have anything to indicate where they might have been taken, despite having a very English feel to them.



It was this view that provided the first clue. As a trained geologist I'm pretty familiar with landscapes and outcrop patterns produced by a variety of rock types, and this headland with its blocky nature produced by weathering of rectangular joint patterns seems to me very typical of granite.


Geology of Cornwall and Devon
portion of Geological Survey "Ten-Mile" Map (1957)
Image © and courtesy of the Ordnance Survey
From what I remember of my A-Level geology studies the only place in England that you're likely to find granite right on the coast is in Cornwall, as the portion of the Geological Survey map for that area shows rather dramatically. The red blobs are granite intrusions, and the blob at the far left covers the land around Penzance, St Ives and Land's End.


Land's End, Cornwall
View Larger Map
That still leaves a fair distance of coastline to search, but if you're visiting Cornwall, what better place to take a photograph than at Land's End, that most touristic and memorable of spots, so that's where I looked first. You can search this coastline very effectively using either Google Maps or Google Earth. Noticing that the view in that first slide had some rocks off shore, with perhaps a lighthouse on one of them, I used Google Maps to come up with this view of rocky islets a few hundred metres to the west of Land's End.


Land's End, Cornwall
Image © Tom Hurley and courtesy of 360 Cities
Google Earth gives you the opportunity to "fly through" the landscape in virtual 3-D, and to access "spherical panoramic" images hosted by 360 Cities. One of these fortuitously shows almost the exact view as in the slide, taken from Dr Syntax's Head with the Longships islets and lighthouse, as well as Kettle's Bottom rock, in the distance.



Walking a few metres out to the headland and turning right to face north-east gives us the scene shown in the second of the slides (above). The rugged coastline is identifiable by the characteristic sea arches, and a hotel building just visible on the horizon. These two panoramas can be viewed via browser on the 360 Cities web site here and here.


Harbour View A
The next three slides show a harbour, taken from different spots around the shoreline. This image is the most interesting, and in some ways frustrating, of the three. A large crowd gathers around something almost hidden from the view of the photographer. In the right foreground a neatly dressed woman pats the neck of a horse, complete with full collar and harness attached to the shafts of the cart, the buckboard of which is just visible through the crowd. Clearly the people are jostling for a closer view of whatever is on the cart. One man, wearing rolled up shirt sleeves and a flat cap, is standing at what is probably the tailgate of the cart, and has the attention of many in the crowd. At far left of the foreground, standing on some kind of platform, are three teenagers including two girls with dark blue school blazer, one with an unidentifiable crest.

A lorry with large drums piled on the back is parked between the crowd and the water. Almost hidden behind the cab of the truck, several boys play in waist-deep water. The harbour is scattered with boats at anchor, ranging from small pleasure craft to larger commercial fishing boats. A long stone wharf or breakwater extends almost across the entire width of the photo, with two lighthouses, a large one centrally placed and a smaller one at the distal end, marking one side of the harbour entrance. A couple of dozen cars, mostly black, are parked along the wharf, reminding one of that well worn quote often attributed to Henry Ford, "You can have any colour as long as it's black." The car at the far right looks like an early Morris Minor, first manufactured in 1948. Also arrayed intermittently down the wharf are a number of people standing and sitting, obviously enjoying the warm sunshine.


Harbour View B
This view of the harbour includes the shore-end of the wharf and part of a town, with a number of boats resting at anchor and several dinghies tethered by ropes and lying on the sand in the foreground exposed by an outgoing tide.


Harbour View C
A third view of the harbour is taken from the opposite direction, the photographer standing on the shore somewhere in the middle of the previous view. Boats are at anchor or under way in the small harbour, at least four of them with visible occupants, and several men, women and children can be seen on foot investigating the intertidal sand flats.

The slopes on the other side of the harbour are clad with a substantial number of buildings, indicating a sizeable town, and a smaller wharf protecting the other side of the harbour is visible in the left middle ground. At far left in the middle ground, beyond a rocky point, a beach crowded with pleasure seekers can just be made out.


St Ives, Cornwall, December 2005 (see in Google Maps)
It took a little searching, but I eventually found the harbour using Google Earth. It is St Ives, situated on the northern Cornwall coast, a town well serviced with Streetview images, which meant I could locate three perfect shots for a "Now and Then" series.


St Ives Harbour View A - May 2009
Image © and courtesy of Google Earth
The first view was clearly taken near the top of this boat ramp, and I suspect the cart contains a catch of fish, crab or lobster recently hauled onshore from one of the fishing boats now at anchor in the harbour.


St Ives Harbour View B - May 2009
Image © and courtesy of Google Earth

St Ives Harbour View C - May 2009
Image © and courtesy of Google Earth
The second and third views indicate that the photographer was walking around the harbour as the tide went out.



The last of the six slides depicts a beach at low tide, filled with dozens of people enjoying the sunny afternoon. Some recline in their deck chairs, reading newspapers, chatting to friends or watching the children playing. The photographer has caught a young boy having just bowled a ball at his sister, and she's in the act of batting it away. Two young ladies bravely sunbathe in the lea of a rocky outcrop. Another group of children are digging in the sand. One young man or woman scans the sky anxiously, wondering how much longer the sun will last or perhaps keeping a lookout for pesky seagulls.


View of Newquay Harbour entrance from Towan Beach
Image © buthe79 and courtesy of Panoramio
This has been identified as Town Beach at Newquay, which recent images show to have remained popular with holidaymakers. The rocks here are Devonian sandstones, by the way.

The clothing fashions in these photographs, particularly those worn by the women, appear to me to be typical of the post-Second World War era, i.e. the late 1940s and early to mid-1950s, illustrated by the images on Geoff Caulton's PhotoDetective web page for this period.


Detail of St Ives Harbour View A
Image © and collection of Brett Payne
It was when zooming in on these images that I noticed a very unusual feature, one that I've never previously noticed in any of the colour images that I own. Although not visible to the naked eye, the colours are actually made up of three differently coloured sets of diagonal lines. According to Robert Hirsch's history of colour photography (Hirsch, 2011), colour plates made up of a "checkerboard of red, green, and blue elements" were produced by the Finlay Colour process, also known as the Thames Colour Screen, which was originally patented in 1906 but abandoned after the Great War. It was subsequently re-introduced in the late 1920s and early 1930s.

The Paget Dry Plate process, "patented in Britain in 1912 by G.S. Whitfield and first marketed by the Paget Prize Plate Company in 1913," was a very similar technique (Wikipedia).

The system used two glass plates, one of which was the colour screen plate while the other was a standard black-and-white negative plate. The colour screen plate comprised a series of red, green and blue filters, laid down in a regular pattern of lines to form a réseau, or matrix ... Transparency positives could be made from the system's panchromatic negatives by contact printing; these positives were then bound in register with a colour viewing screen of the same type as used for exposure, to reproduce the image in colour.

James Morley has a small collection of early colour positive slides produced by the Paget process here. My examples, however, appear to have been taken considerably later, probably in the very late 1940s or early 1950s.

For more coastal excursions, in various hues, visit the other participants in this week's Sepia Saturday effort.

References

Hirsch, Robert (2011) A Concise History of Color Photography, in Exploring Color Photography, 5th Edition, Focal Press.

Elusive colour: Paget colour system, on Captured in Colour, Australian War Memorial.