Sepia Saturday 165: Sojourn in Swanage

In the past I have frequently mined my own family photograph collection for both inspiration and subjects for articles on Photo-Sleuth. Hunting for appropriate images or interesting topics often involves looking at the photographs in greater detail, or perhaps from a different point of view. Occasionally this results in the unearthing of new clues regarding the people in the photo or the events depicted, part of the process that Alan Burnett has referred to as "photographic archaeology."

The Sepia Saturday prompt this week invites us to share "unknowns" from our collections. My contribution is the result of an investigation into a series of three amateur photographs from my family collection from geographical, genealogical and photohistorical perspectives.


Charles Hallam and Sarah Payne promenading at Blackpool, c.1900-1904
Cabinet card by H. Pawson, Promenade Studio, Blackpool
Image © and collection of Barbara Ellison
My great-great-uncle Charles Hallam Payne (1870-1960) and his wife Sarah Emma Payne nee Parker (1870-1946) retired from running the Payne family grocery in June 1914, when they were in their mid-forties, moving from Normanton to Dale Cottage near Ingleby. Retiring at such a young age was probably facilitated by a substantial inheritance from Hallam's father, and perhaps precipitated by the death of his mother earlier that year.

The lease on Dale Cottage was signed four days before Archduke Franz Ferdinand was assassinated in Sarajevo, and when war was declared against Germany six weeks later, Hallam and Sarah must have wondered if they'd made a mistake. No doubt the privations and hardships brought on by the Great War impacted on far more than just their tradition of having regular summer holidays at the seaside, such as that captured by Harold Pawson at the Promenade Studio portrait above, taken shortly after the turn of the century.


Charles Hallam Payne (far right) and friends, Swanage
Postcard print by unidentified photographer, 10 June 1929
Image © and collection of Barbara Ellison
They resumed their outings some time after the war had ended and, according to inscriptions on the backs, these three amateur prints were all taken in the summer of 1929 at Swanage on the southern coast of Dorset, England. This was after one of the most severe winters of the last three decades and a notably dry spring, but in typical English fashion they are dressed for inclement weather, quite a contrast to the German family holidaying in Sorrento which I featured on Photo-Sleuth six weeks ago.

It was also less than a fortnight after the General Election, the first in the United Kingdom in which women under 30 were allowed to vote, and therefore often referred to as the "Flapper Election." Did the young women perched not far from the edge of a cliff in this photograph vote? I like to think so, although perhaps they were a little young.


Reverse of K Ltd postcard, probably taken with a No. 3A Folding Pocket Kodak or similar, using 122 roll film and processed by Kodak Ltd.
The backs of two of the postcard-sized photographs in this series display a generic "K Ltd" format which Ron Playle lists as in use from 1918 until 1936. Although he doesn't state the name of the firm who printed them, I believe these very commonly used postcards are very likely to have been produced by Kodak Ltd., like the similar "K" design from the late 1930s and early 1940s which was from Kodak, and which I wrote about last week.

This excerpt from an article by Merril Distad provides more background to Kodak's early involvement in the postcard industry:

Kodak’s greatest boost to the postcard craze really began in 1903 with the introduction of the Kodak Folding Pocket Model 3A camera. Produced until 1941, it was a small, folding bellows camera, priced from as low as $12, that yielded postcard-size negatives (3.25 x 5.5 inches / 83 x 139 mm). Kodak distributed its photo print papers, both the “Velox” and (after 1904) the cheaper “Aso” brand, precut to the same size, with the standard postcard grid format printed on the backs. Despite competition from other companies’ photo papers in postcard format, such as Ansco’s “Cyko,” Artura’s “Artura,” Burke & James’ “Rexo,” Defender’s “Argo,” and Kilburn’s “Kruxo,” Kodak papers accounted for 70 percent of such sales prior to 1914, while it sold an annual average of 45,000 Model 3A cameras during the same period.

Many of Derbyshire's commercial photographers used "K Ltd." postcard papers for their own photos in the 1920s. Some firms, such Boots Cash Chemists, which had four branches in Derby and a further 11 throughout Derbyshire, would also have provided a service which developed and printed roll film from cameras such as the No. 3A Folding Pocket Kodak.


Sarah (2nd from left) & Charles Hallam Payne (far right) et al, Swanage
Postcard print by unidentified photographer, 10 June 1929
Image © and collection of Barbara Ellison
Buoyed by the recent successful identification of the Sorrento coastline, I wondered whether it might be possible to pinpoint the spots where these photographs had been taken, even though I am as unfamiliar with England's southern shoreline as I am with the Italian coast.

Although not the best in terms of clarity, the first shot shows Uncle Hallam with a young man and two young women - one with a hat, one without - posing on what appears to be the edge of a cliff, overlooking a body of water with some rocks just visible at centre left.

The second has the same group, with the addition of Aunt Sarah, standing at the edge of a road bordered by an untrimmed hedge. The chimneyed roof of a cottage is visible at centre right, and a view of the sea at centre left, with a possible "notched" headland in the distance.


Sarah (2nd from right) & Charles Hallam Payne (far right) et al, Swanage
Amateur paper print by unidentified photographer, June 1929
Image © and collection of Barbara Ellison
The third shot appears to have been taken at a similar location to the first, although Aunt Sarah and Uncle Hallam, his hat now carefully placed on the ground, are now standing with two young men and one young lady. It seems likely that the young woman without a hat who appears to be wearing a man's dark jacket in the first cliff-top shot was the photographer in this third photograph.


Amateur print (60x88mm) on Velox paper by unidentified photographer
Probably taken with Folding Pocket Kodak or No. 2 Brownie, June 1929
Image © and collection of Barbara Ellison
The quality of this paper print, clearly marked with Kodak's VELOX brand, is somewhat inferior to the other two and it is a smaller format. It measures roughly 2¼" x 3¼", which equates to Kodak's 105 or 120 formats, and therefore probably taken with either a Folding Pocket Kodak or a No. 2 Brownie.


Swanage and Peveril Point
Image © and courtesy of Google Earth
Next ... the location, which I investigated, as usual, using the imagery provided by Google Earth. To the east of Swanage's town centre, at the southern end of a large bay, is a peninsular called Peveril Point, which seemed to me the most obvious place to go looking for cliff tops that tourists might visit.


View of Broken Shell Limestone Reef, Durlstone Bay from Swanage Coastguard Hut, Peveril Point
Image © Al Dunn and courtesy of 360 Cities
Close to the tip of Peveril Point, not far from the Coastguard hut, and right on the cliff edge, Google Earth shows a small red icon which represents a 360 degrees panoramic view. Double-clicking on the icon takes one into the panorama, and provides the image above, apparently taken from precisely the same spot as the first cliff-edge photograph.

The rocky outcrop known in geological circles as the Broken Shell Limestone Reef is clearly visible, even at high tide, as are the the white shells or pebbles which litter the ground at the cliff top. This forms part of the geological type-section of the Purbeck Group of the Upper Jurassic, visited frequently by geologists and geological students since its first description by Thomas Webster in 1816, and well known for its reptile and early mammal fossils (West, 2012).


Coastguard cottages overlooking Swanage Bay
Image © Andy Jamieson, courtesy of Geograph.co.uk and licensed for reuse under this Creative Commons Licence
Despite the loss of two of the building's chimneys in the intervening eight decades, it is easily identifiable as the Coastguard Cottages which are situated immediately above the RNLI Swanage Lifeboat Station.


The Coastguard Cottages on Peveril Point, Swanage
Image © Bressons_Puddle and courtesy of Panoramio

Peveril Point Road, Swanage
Image © and courtesy of Google Streetview
Unfortunately Google's StreetView camera didn't quite make it that far along Peveril Point Road, but the cottages and their chimneys are just visible poking out to the left of the small tree in the centre of this view above (click on the image to be taken to StreetView). Very close to the blue gate set into the stone wall in front of the tree is where the group of five were standing on that summer evening.


Swanage and Peveril Point, with the two camera positions marked
Image © and courtesy of Google Earth
I write "evening" because the photographer is facing towards the north-east. The characteristic profile of the cliffs at Ballard Point and Old Harry's Wife, on the other side of Swanage Bay, are just visible - the "notched" headland to which I referred earlier. The shadows are long and pointing towards the east, and since in Dorset the sun sets around 9:20 pm in mid-June, I estimate this was perhaps between 5 and 7 pm.


The Promenade, Swanage, Postcard postmarked 1931
Although other visitors aren't visible in any of these photographs, Swanage was a popular destination between the wars, as evidenced by the number of postcards from that era boasting of its amenities, such as the view of The Promenade above, posted on 1931.


Mary and Ella Chadwick, 1927
Postcard print by H.A. Aylward of Alton, Hampshire
Image © and courtesy of Una Palmer
Lastly to the identification of Hallam and Sarah's fellow sojourners on Swanage. Hallam and Sarah didn't have any children of their own. So whose kids did they have, then (you might ask, if you're a Spike Milligan devotee)? Well, they were very fond of their nephews and nieces, grand-nephews and grand-nieces, including my grandfather and father.

One of the two young women was, I think, Mary (born in 1912, shown above left), a daughter of Hallam's sister Lucy Mary (aka "Maggie") Chadwick (1876-1953), probably the one wearing the sensible hat. Maggie's younger daughter Ella (aka "Bay" and born in 1916, above right) was only twelve years old at that time, so I think the other young woman - the one I suggest may have wielded a camera - is probably a friend. The Chadwicks were living at Headley Down in Hampshire at this time, which would have been two or three hours' drive from Swanage in Hallam's Citroën purchased in July 1921 (either a Type A, the first motor car mass-produced in Europe, or a Type B).


Harry and Clarence Benfield Payne, c.1919-1921
Postcard print by unidentified photographer
Image © and courtesy of Una Palmer
As for the two young men, I feel sure they are the sons of Hallam's younger brother Fred Payne (1879-1946) and drove down with them from Derby. Henry (aka Harry and born in 1906) and Clarence Benfield (born 1907) both lived in Derby, where their parents had been running the grocer's shop/offlicence in St James' Road, Normanton ever since Hallam and Sarah's retirement. Their sister Christine was captured walking with her uncle and aunt twice by street photographers in Bournemouth four years later.

References

Gustavson, Todd (2009) Camera, A History of Photography from Daguerreotype to Digital, New York: Sterling, 360 pp.

Distad, Merrill (nd) The postcard – a brief history, on Peel's Prairie Provinces, from University of Alberta Libraries.

Milligan, Spike (1961) Word Power, on Milligan Preserved, LP publ. EMI (NTS 114), courtesy of YouTube.

West, Ian M. (2012) Durlston Bay - Peveril Point, Durlston Formation, including Upper Purbeck Group: Geology of the Wessex Coast (Jurassic Coast, UNESCO World Heritage Site), Internet geological field guide, by Ian West, Romsey and School of Ocean and Earth Science, National Oceanography Centre Southampton, Southampton University.

Sunrise and Sunset in Bournemouth

Historical Weather Events

Excerpt from Kelly’s Directory of Hampshire 1931, courtesy of John Owen Smith

The AA Road Book of England and Wales, publ. c.1936 London: The Automobile Association, by kind courtesy of Nigel Aspdin,

Sepia Saturday 162: Decorating Bicycles

Sepia Saturday provides bloggers with an opportunity to share their history through the medium of photographs ... the launch pad for explorations of family history, local history and social history in fact or fiction, poetry or prose, words or further images

I use the weekly image prompts provided by Alan Bennett and his occasional helpers as an inspiration for writing about photohistory, mostly centred around images from my own collection, but also in response to correspondence with like-minded folk from around the world who've been in touch via this blog or my Derbyshire Photographers web site. The regular deadline suits me as I have to focus on a specific image or topic and get down to it, rather than researching until the cows come home and never actually writing anything.

Another important aspect is the regular feedback received from fellow Sepians, for which I'm very grateful. As I stated in my first ever posting on Photo-Sleuth almost six years ago:

"... the best way to stimulate me into posting more photos is to provide some feedback. It's always nice to hear from like-minded folk."

Over the last year - during which time my blogging as been, shall we say, sporadic - almost half of the articles that I've posted on Photo-Sleuth have been contributions to Sepia Saturday, but they have generated over 80% of the comments received during that time. Using my Google Analytics tool I'm also able to determine that more than half of all Sepia Saturday visitors leave feedback. I take that as a measure of readers' appreciation. Thank you.


Unidentified boy with flag on bicycle, undated
Cabinet card by Norman McAuslan, of New Road, Belper, Derbyshire
Image © & courtesy of Diane Alton-Kaighin
This week's image reminded me of a couple of curious photographs by Derbyshire studios of decorated bicycles. The first is a cabinet card by the Belper photographer Norman McAuslan, in which a boy on a bicycle brandishes a large flag or banner, the pole of which carries a pointed finial. After some research, I believe I've identified the banner as an early version of the Royal Standard of the United Kingdom in use prior to 1907.


N.J. McAuslan's studio in Belper, undated
Paper print by unidentified photographer
Image © & courtesy of Robert Silverwood
According to his great-grandson Robert Silverwood, McAuslan worked as a photographer from the mid-1880s until ill health forced him to quit in April 1902. This unusual studio portrait was probably taken towards the end of this period, and I believe it may have been taken to mark the death of Queen Victoria and accession of King Edward VII in January 1901.


Man dressed as a clown with decorated bicycle, undated
Glass plate negative by W.W. Winter of Midland Road, Derby
Image © and courtesy of WW Winter Ltd
This image produced from one of W.W. Winter's glass plate negatives is presumed - from the caption in Angela Leeson's "The Winter's Collection of Derby" - to depict a participant in a Hospital Day parade, and it is my guess from the photographic style that it was taken in the 1910s. This time the decoration is far more elaborate, including masses of flowers, paper Chinese lanterns and an umbrella. The man standing next to the bicycle is dressed as a clown, complete with battered topper and bulbous nose.


Group with decorated bicycles, Alcester, c.1890s
Image © and courtesy of Windows on Warwickshire
From what I can tell, the tradition of decorating bicycles first developed during the 1890s' Golden Age of Bicycles, resulting from the introduction of the first practical pneumatic tyres which undoubtedly made cycling a far more pleasant and comfortable pastime. Like cycling, it quickly became a craze which spread rapidly around the world, so that by the late 1890s they were even indulging in the Antipodes.


Decorated bicycles, probably c.1918
Postcard by unidentified photographer
Image © lovedaylemon and courtesy of Flickr
The following account of a spring carnival which took place in Dunedin, New Zealand in September 1897 describes a variety of decorated people and contraptions:

FLORAL FETE AND BICYCLE GYMKHANA.
At the conclusion of the mayor's remarks a dozen ladies mounted on bicycles went through a number of evolutions to the strains of music supplied by a band of four musicians ... The ladies were all dressed in white, and wore straw hats trimmed with yellow flowers. Their bicycles were also nicely decorated with flowers, daffodils being largely brought into requisition for decorative purposes ...

Decorated bicycles, tricycles, scooters, wheelbrarrows & prams
Postcard by unidentified photographer, May Day 1921
Image © lovedaylemon and courtesy of Flickr

At the conclusion of the bicycle ride there was a procession of children with exhibits, consisting of bicycles, tricycles, go-carts, perambulators, &c, all of which were decorated with spring flowers and evergreens. The procession was headed by four children dressed in white, drawing a go-cart nicely decorated with flowers. Then came various kinds of vehicles, some of which looked very pretty with their floral decorations ...

Decorated bicycles in Lions Club Parade, Whitby, Ontario, 1937
Black and white negative by Marjorie Ruddy
Image courtesy of Whitby Online Historic Photographs Collection, Whitby Archives & Whitby Public Library, Ref. 30-023-032.

Conspicuous in the procession was a pug poodle drawing a small cart ... Several children, dressed so as to represent different kinds of flowers, and carrying parasols florally decorated, brought up the rear of the procession ...

Commercial High School Fiesta Floral Parade with maypole/bicycle float
Photograph by unidentified photographer, Los Angeles, 1902
Image © and courtesy of Copenhagenize.com

The whole display was very effective, and greatly enjoyed by the spectators, who showed their appreciation of it by loud applause. After the procession about 20 little girls, dressed in white and decked with flowers, danced a maypole dance very gracefully.

Decorated bicycle, Battle of the Flowers, Ramsgate, undated
Postcard by unidentified photographer
Image © lovedaylemon and courtesy of Flickr
The cycle carnival became a popular fundraiser, always guaranteed to produce a wide variety of interpretations on the theme as well as draw a good crowd.

In 1907 the Molesey Wheelers Cycle Club introduced a cycle carnival to boost the hospital funds. The spectacle of a cavalcade of gaily decorated bicycles and tricycles parading through the streets was something Molesey villagers had never before beheld. The ingenuity displayed by the riders in embellishing their machines was said to have been "much admired by the spectators", and demands were made to repeat the exhibition the following year. Which indeed it was, and for several following years. (Baker, 1981)

Floral decorated bicycle with dog platform, undated
Hand-coloured postcard by unidentified photographer
Image © lovedaylemon and courtesy of Flickr
The Northamptonshire Film Archive Trust has film archive footage of the Wellingborough Hospital Day "carnival (in 1925 which) shows a lady pushing her highly decorated bicycle which also carried her little dog," possibly much as shown in the postcard above.


Decorated bicycles in Shrewsbury Carnival, 1938
Still image from silent film compilation
Image © and courtesy of MACE Media Archive for Central England
The final image in this series is a still taken from a silent film of floats in the Shrewsbury Carnival of 1938, illustrating the continuing popularity of decorated bicycles, some embellished with the same old Japanese lanterns.

I'm very grateful to Gail Durbin, whose Flickr photostream (lovedaylemon) includes a superlative collection of old photographs on various topics, providing several images for this week's topic. If you fancy being entertained in good "sepian" fashion for a couple of hours, I'd thoroughly recommend a wander over there - you won't be disappointed.

References

Bicycle, from Wikipedia.

History of Carnival, The Official Wellingborough Carnival web site.

Anon (1897) Floral Fete and Bicycle Gymkhana, Otago Witness, Issue 2274, 30 September 1897, p30, Courtesy of Papers Past.

Baker, Rowland G.M. (1981) The Story of Molesey Hospital.

Leeson, Angela (1992) The Winter's Collection of Derby, Breeedon Books, p123.

Sepia Saturday 161: Anyone for a pork pie?

Apart from the very welcome comments on individual posts here on Photo-Sleuth, I receive a good deal of correspondence from readers all over the world, sending scans of their photographs, giving their thoughts concerning subjects that I've written about, identifying people or places, or merely sharing their enthusiasm for photohistory. Over the last year or so, due to work commitments, I've not done much in the way of follow up articles, so hope to remedy the situation over the next few weeks. I will make the most of Alan's shopfront photo prompt over at Sepia Saturday this week to follow up on some feedback received relating to an image that I published here in 2011.


Shopfront of W. Barnes & Co., general drapers, undated
Unmounted paper print (149.5 x 109.5 mm) by unidentified photographer
Image © and collection of Brett Payne
In August 2011 I posted this image of a paper print depicting W. Barnes & Co.'s draper's shopfront as my contribution to Sepia Saturday 89. I estimated that it had been taken around the time of the Great War, probably at the onset of winter. Fellow Sepians had a good bash at trying to identify the town, with Alan suggesting perhaps he remembered it from his "time spent living in Wimbledon/Merton 40 years ago." My friend and fellow photo-sleuth Nigel Aspdin suspected it was from somewhere in the English Midlands, but we were unable to pin down a location.


Market Place, Melton Mowbray, c.1950
Image © and collection of The Francis Frith Collection
Then in May last year Paul Finch left a comment and emailed me to say that he had successfully pinpointed the location as the Market Place, Melton Mowbray, (dare I say the home of the delicious pork pie?) as shown in this c.1950 Frith's postcard scene. This excellent piece of sleuthing was not a simple or easy exercise, as I discovered for myself when I tried to find a contemporary image of Melton Mowbray's Market Place showing the building in question.


Market Place, Melton Mowbray, 2012
Image © and courtesy of Google Earth's Streetview
The best that Google Earth's Streetview can do is this view from Cheapside near the intersection with Church Street, with the building in question mostly obscured by a tree. At the very least this building, now occupied by Boots Pharmacy, has been significantly modified since 1950, but I suspect it has been completely replaced.


Kelly's Directories
Image © and courtesy of Durham University
The demolition of a building that features in an old photograph of course makes it the photohistorical detective work harder, but the dedicated enthusiasts will usually find a way. I asked Paul how he had deduced the location of the Barnes & Co. shopfront:

For about 30 odd years I've been accumulating UK shopfronts mostly on postcards. I try and buy unlocated cards as I enjoy tracking down their locations ... over this period I've hunted down editions of Kelly's Trade Directories. They are very scarce especially the dates I really need. I guess I acquire about 2/3 a year if I'm lucky. The Grocery trade volume still eludes me. You'd think with the amount of grocers/provision merchants around from 1900-WWII there would be plenty of such books but I think there's less than a dozen in the UK ... I have bought only two editions of the Textiles editions: 1906 and 1920. It took a few minutes to look up Barnes in the drapery sections and they appeared in both years. After a quick search on the Kelly's website it looks as though it was a fairly long running family business.

It sounds simple, but one should never underestimate the amount of time and patience involved in hunting down those trade directories. I'm grateful that Paul took the time to help with this quest.


Based on the photo prompt, I suspect there will be many more shopfront contributions to Sepia Saturday this week, some of which may need identification. Pay them a visit and see if you can assist - yours may be the clue which solves the case. As for me, all this has made me hungry - I'm off to find a pork pie.

Sepia Saturday 140: Two weddings and a funeral

For my contribution to the Sepia Saturday scrapbook this week, I have delved into my collection of specimens from Derbyshire's longest lived studio, that of W.W. Winter. This group of wedding photos - slavishly following Alan's matrimonial photo prompt - was a recent purchase on eBay and is probably the most recent example that I have from this studio.


Unidentified wedding group, c.1950s
Paper print (156 x 114mm) by W.W. Winter, Derby
The listing naturally caught my eye, or rather eBay's search tool, because of the studio's location, but it also turned out to be an interesting research problem. On the face of it, the wedding portraits offered relatively few clues as to the identities of the subjects. The bride could be in her mid- to late thirties, the groom - with an incipient receding hairline - perhaps a little older, and he is wearing a cassock and dog collar, so presumably an Anglican priest.


Photographic "Wedding" card folder
W.W. Winter Ltd. Midland Road Derby
The series of three 6⅛" x 4½" prints, one showing the wedding party standing outside the church in landscape format, the other two of the bride in portrait format, have their corners inserted in diagonal slits in pre-printed and embossed pale blue card folders (177 x 133mm or 7" x 5¼") with white decorated edging.


Reverse of paper print
Negative number "59165 A," surname "Edwards"
The prints have the standard W.W. Winter signature logo blind stamped in the bottom right, while a negative number and the surname "Edwards" are written in pencil on the reverse.


Reverse of card folder
Inscribed with negative number "59165 A" & surname "Edwards"
The same negative number and surname are inscribed in pencil, albeit apparently a different hand, on the back of the blue card folder.


Unidentified bride, c.1950s
Paper print (114 x 156mm) by W.W. Winter, Derby
The portraits of the bride show her holding the bouquet in a similar position outside the church.


Photographic "Wedding" card folder
Inscribed with surname "Edwards" & Negative number "59167B"
W.W. Winter Ltd. Derby
One of the folders has the pre-printed studio name in a different font, although it is otherwise identical.


Unidentified bride, c.1950s
Paper print (114 x 156mm) by W.W. Winter, Derby

Unidentified bride, possibly "Dordy," c. 2 February 1959
Paper print in embossed card folder
W.W. Winter, Derby
But it is an inscription on the inside cover of the folder housing the third portrait which provided the only clue left by the presumed original owners.

To Lily
with Love
Dordy +
Peter
2.2.1959

I can't be absolutely sure about the name "Dordy," but that's my best guess, based on a comparison with the remainder of the text, e.g. see how the "o" is written in the word "Love."


If I were to have any chance of identifying the subjects, it was clear that I would have to make some deductions, assume they were correct, and test the theory by seeing where that led. So perhaps ...

- the wedding took place on 2 February 1959,
- since it was captured by W.W. Winter, it was most likely taken somewhere near Derby
- "Dordy" was the bride, Peter the groom,
- their married name was Edwards,
- "Dordy" was a pet name, perhaps short for Dorothy or Doreen, and
- she gave the wedding photos to a close friend or relation named Lily.


Unidentified wedding group, c.1950s
Paper print (167 x 119mm) by unknown photographer
The last of these seemed plausible since accompanying the W.W. Winter wedding portraits in the same eBay lot were three further wedding portraits, similar in size and shape, but in plain card folders (with no photographer shown) and obviously a different wedding. However, the bride in these three portraits (above and below) is clearly the same woman who appeared as a bridesmaid in Dordy's group wedding photo.


Unidentified wedding group, c.1950s
Paper print (167 x 119mm) by unknown photographer

In order to find a suitable marriage record for Dordy I turned to FreeBMD, which has to be one of the most useful, and used, free UK genealogical research tools currently available on the net. Although this unofficial database of the GRO Birth, Marriage and Death Index, compiled by voluntary indexers, is not yet complete, the coverage for the 19th Century and first half of the 20th Century is very good, and growing. A quick check of the graphs (or charts if you prefer) for marriages shows that both transcription and validation for 1959 are estimated as complete, which will give us a good degree of confidence that we are likely to be searching a full set of records.


The basic FreeBMD search page has a very simple, and versatile, interface where I inserted the following details of the presumed wedding:

Type: Marriage
(Groom's) Surname: Edwards
(Groom's) First name: Peter
Spouse's First name: Do
Date range: Mar (Qtr) 1959 - Mar (Qtr) 1959
Counties: Derbyshire

N.B. Since I wasn't sure about the bride's first name, I decided to specify only the first two letters. This search engine matches all first names in the database with start with these letters and fit the other specified criteria, i.e. a wildcard after the specified letters is assumed. All other details were left blank.


Searching using these parameters produced a single hit, a marriage entry for one Peter A. Edwards, spouse's surname Sewell, in the Shardlow Registration District (near Derby).


Clicking the GRO Reference Page number gave a list of all the names listed on that page of the register, including that of Peter's bride Doreen N. Sewell.


I then used the FeeBMD Index of birth registrations to look for a Doreen N. Sewell born somewhere in Derbyshire between 1910 and 1930 (assuming that she was in her 30s or early 40s at the time of her marriage. Finding one whose birth was registered in the Belper R.D. in the September Quarter of 1919 (Dordy would have been thirty-nine years old when whe was married), and whose mother's maiden name was NEALE, I was able to search for potential siblings. Indeed there were at least five Sewell sisters (shown above) including, conveniently, the youngest named Lily V.


Unfortunately, searching the FreeBMD marriage index for marriages for a Lily V. Sewell, even without any constraining dates or location, produced not a single hit. However, bearing in mind that her wedding would probably also have taken place in the 1950s (or thereabouts), we already known the coverage for that decade is patchy (we hit lucky with 1959).


I therefore turned to the comprehensive subscriber-only Ancestry database, which was far more successful, turning up a marriage for Lily V. Sewell and Albert H. Young in the Woolwich R.D. (Kent) from the September Quarter of 1952. Lily was apparently married six or seven years earlier than her older sister, when she was thirty-two years old.


The photograph of the happy couple signing the register was of fairly decent quality, so I tried some digital manipulation of a detailed scan (click image above for a more detailed version), in an attempt to decipher the handwriting in the register. Unfortunately, while I think I can make out the name, Lily Victoria Sewell, that's about the extent of it. I sadly haven't been able to determine the name of the parish church, but it is likely to be in one of the parishes of Charlton, Kidbrooke, Plumstead or Woolwich.


So, you might well ask, we've had the two weddings, but where is the funeral? When I was trying to identify as many people as possible who appeared in both wedding parties - can you see Dordy and her husband to be, Peter, in Lily's wedding photo? - there was one man who, although he appears to have taken the place often reserved for the father of the bride, looks too young for that role. Perhaps he's an uncle, or other member of the family? There is an older woman, also present on both occasions, who looks old enough to be Dordy and Lily's mother.

As shown by the above entry in the National Probate Calendar, Walter Edward Sewell of 298 Boulton Lane, Alvaston, Derbyshire (a pig iron carrier by trade) died on 12 July 1948, and was sadly not able to attend either of these two daughters' weddings.

For more weddings, and possibly a funeral or two, try Sepia Saturday's other offerings this week - I can guarantee you'll not be disappointed.