Sepia Saturday 187: Ephemera and the preservation of family photo albums

The image prompt for Sepia Saturday this week gives me an opportunity to look at some of the non-photographic material often found in family photo albums, as well as to show off some of the photo-related ephemera in my collection. Although Victorian carte de visite and cabinet portrait albums contain largely that, i.e. photographic portraits - the purpose-designed sleeves weren't really suitable for flimsy pieces of paper and arbitrarily sized cards - one does often find a variety of family history-related ephemera in them.


Edith Mary Morton's photo album
Image © and collection of Brett Payne
This album was an eBay purchase a few years ago. It is in a rather dilapidated state, but in addition to 45 cartes de visite, five cabinet cards and a postcard format photo, the album also contains an ornate baptism card and a printed memorial card.


An inscription on the front page of the album demonstrates that it was a birthday gift to Edith Morton from her sister Amy.

May 19th 1895
To Edith Morton
With best wishes For a
Happy Birthday
From her sister Amy.

Baptism certificate for Sidney Stephen Sears
Image © and collection of Brett Payne
Near the front of the album, and loose between the pages, I found a brightly coloured baptismal certificate for Sidney Stephen Sears, dated April 12th 1903 at St James Enfield Highway, filled in and signed by the vicar, J. Leonard Boulden. The baptismal certificate is of a type that appears to have been used quite commonly in parish churches in the early twentieth century. I have found almost identical examples from as late as 1933. [1,2] Boulden was vicar of St James until at least 1922. [3]


Entry in baptism register for Sidney Stephen Sears
Enfield Highway St James, Register of Baptism, Ref. DRO/054, Item 007
Image © London Metropolitan Archives and courtesy of Ancestry.com [4]
The entry in the baptism register for St James, archived at the London Metropolital Archives, is in the same handwriting. Not only does it confirm the baptism date, but it also provides the very useful information - not given on the certificate - that Sidney Stephen was born on 16th February 1903, the son of Stephen and Edith Mary Sears of 22 Durrants Road.


Edith Mary Sears, c. 1897-1901
Albumen print (96 x 139mm), probably detached from cabinet card
Attrib. Henry Bown, 31/33 Jamaica Rd & 43 New Kent Rd, S.E. London
Image © and collection of Brett Payne
Using this information, I was able to identify the owner of the album as Edith Mary Morton (1874-1944). Edith was born in 1874 at Riverhead in Kent, to a railway clerk Frederick William Morton (1843-1891) and his wife Emily Wanstall née Andrews (1843-1896). She grew up with her six sisters and three brothers in Sevenoaks and Deptford in Kent and as a young woman worked as a book folder. [5]


Stephen George Sears, c.1896-1900
Cabinet card (107 x 166mm) by W.H. Fawn, 13 Evelyn Street, Deptford
Image © and collection of Brett Payne
On Christmas Day 1897 Eadie married Stephen George Sears (1875-1934). They lived at 22 Durants Road, Ponders End, Enfield Highway in Middlesex and had three children, Ethel Edith (born 15 November 1898), Helen Amy (born 27 August 1900) and the youngest Sidney Stephen.


Roadworkers in Church Street, Ashover, c.1900-1910
Mounted albumen print by J.J. Shipman of Ashover
Image © and courtesy of John Bradley
Stephen Sears' occupation is listed in various records (marriage, baptisms of children, etc.) as engine driver or engineer, but in 1891 he was employed as a "plowing portable engine boy," i.e. an agricultural traction engine, and by the time of the 1901 census he described himself as a "steam road roller driver." This gives me the chance to re-use this excellent image of a steam road roller at work, albeit in a small Derbyshire village, which I wrote about for Sepia Saturday a couple of years ago. The 1911 Census shows him as an "engineer fireman" working for the District Council.


Four unidentified women from Edith Sears' photo album
Cabinet cards from the studio of Henry Bown, S.E. London
Image © and collection of Brett Payne
Sadly, the album doesn't seem to contain photographs of any children that I can identify unequivocally as Ethel, Helen or Sidney. In fact, the bulk of the portraits are of young women dressed to the nines, taken between the late 1880s and the late 1890s, probably Edith's sisters and possibly including some of her friends. There are a few photos of children, but I suspect they are Edith's nephews and nieces.


Frederick William Morton, c. December 1908
Postcard portrait (87 x 138mm) by unidentified photographer
Image © and collection of Brett Payne
This postcard addressed to Edith was sent from Toronto, Canada by her younger brother Frederick William Morton in 1908.

124 John St, Toronto, Canada, Dec 8th 12/08.
Dear Eadie.
Just a line hoping you are quite well as it leaves me the same hoping steve and the children are the same and wishing you all a Merry Christmas and a Happy and Prosperous New Year we have got winter here now and the sleighs out with the Bells Jingling and nice frosty air hoping you will know this photo allright I remain your affectionate Brother.
Fred Morton

Memorial card for Emily Wanstall Morton (1843-1896)
Image © and collection of Brett Payne
Also found loose in the album was this memorial card for Edith's mother, who died in August 1896, only fifteen months after Edith had received the photo album as a gift for her 23rd birthday.

IN LOVING REMEMBRANCE
OF
Emily Wanstall Morton,
Who died 12th August, 1896,
AGED 53 YEARS.
--x--
INTERRED IN BROCKLEY CEMETERY,
No. OF GRAVE 718A, PLOT P.

Probably Emily Wanstall Morton, c.1892-1896
Carte de visite portrait by Parisian School of Photography, London
Image © and collection of Brett Payne
There are two photographs in the album which could be of Edith's mother. This carte de visite portrait shows a middle-age woman dressed in rather heavy clothing, perhaps even mourning dress, and was taken in the early to mid-1890s. Emily was widowed in 1891.


Possibly Emily Wanstall Morton, c.1866-1871
Carte de visite portrait by Hellis & Sons, London
Image © and collection of Brett Payne
Another carte de visite portrait, of which there are two similar copies, may also be of Emily. It was printed at one of the Hellis & Sons branch studios, judging by the addresses list on the reverse of the card mount, probably between 1899 and 1901. However, I can tell from the hair, clothing and pose styles, as well as the studio furniture, oval vignetting (a technique commonly employed to hide the edges of the original) and faded nature, that it was almost certainly copied from a much earlier photographic portrait, perhaps taken in the late 1860s or very early 1870s.


View Larger Map
22 Durants Road, Ponders End, Enfield
Sidney died in 1920, aged only 16. For the rest of their lives, his parents continued to love in the same house at Ponders End that they had moved into after their marriage in 1897 [6]. Stephen Sears died in 1934, aged 59, while Edith lived to the age of 70; she died in 1944. Ethel and Helen never married, and passed away in 1976 and 1991 respectively. Presumably the lack of any surviving descendants is what resulted in the album eventually finding its way onto eBay.


Morton-Sears Album
I find it interesting that there don't appear to be any photographs in the album of the Sears family after their marriage, except perhaps the portraits of Stephen and Edith Sears. Why would this be? After a lengthy contemplation of the album's contents I've come to the conclusion that it has survived largely intact since the most recent photograph (Fred's postcard sent from Canada in 1908) was inserted in it. There are some portraits taken after her wedding in 1897, but these are probably of her siblings and their children. Edith may have kept this album as a record of her life prior to becoming a wife and mother.


Sears family at 22 Durants Road, Ponders End, Sunday, 2 April 1911
Image © The National Archives and courtesy of Ancestry.com
Even though the album contains very few items with inscriptions - effectively three photographs and a further three pieces of documentary ephemera - I was able to identify the original owner of the album with a high degree of confidence. Using census and birth, marriage and death records, it was then possible to build up an extensive tree of both Edith and her husband's families. Quite apart from generating a list of potential candidates for the remaining photographs in the album, it also enabled me to locate and contact a descendant of one of Edith's sisters.


Group at front door of 22 Durants Road, Ponders End, c.1915-1920
Loose amateur print by unidentified photographer
Image © and courtesy of Ron Plumley
Ron Plumley is the grandson of Edith's sister Emily, and among his Nan's photographs he found this snapshot, which turns out to have have been taken outside the Sears family's front door at 22 Durants Road - compare this with the modern Streetview image above. Although it isn't a very high resolution scan, it's detailed enough to see that the clothing of the woman (at left), the man (at right) and three possible teenagers standing in the doorway equates with the fashions worn immediately before and during the Great War.

I estimate that it was taken between 1915 and 1920 and it's difficult to be sure, but I think this must be the Sears family. Apart, that is, from the man standing at the right, who seems to be too old to be Stephen Sears, then in his early 40s. Perhaps that is Ron's grandfather William Henry Plumley (1869-1919), who would then have been in his late 40s or early 50s, and the Plumleys could have been on a day visit to the Sears family on the northern outskirts of London from their home in Deptford, also in London, but just south of the Thames?


The Morton sisters: Grace Harriett Jenkins? (1870-1945), Agnes Helen Wright (1882-1947), Amy Maria Morton (1875-1963), Florence Maud Zillwood (1866-1946) and Emily Wanstall Plumley (1872-1958)
Postcard portrait by unidentified photographer, c.1930s
Image © and courtesy of Ron Plumley
Finally, this image also shared by Ron shows his grandmother (at far right) with her sisters. It's quite a contrast with the photographs of the Morton sisters taken four decades earlier, naturally, but they look like they are having a lot more fun.

One day this album will return to a family member, but it is only by a stroke of luck that this has been possible. It could easily have been broken up and offered for sale on eBay as individual photos, as many such albums in a somewhat worn state clearly are. If that had happened, almost all of the photographs would have lost all connection with the provenance, history and genealogy that it has been possible to deduce from them as an intact collection.


I cannot stress enough how important it is not to break up albums, even if the paucity of documentation suggests there is little chance of identifying the subjects of the portraits, as clues may only become apparent at a future date. Sadly, inevitable financial imperatives will result in the continued dissolution of many such family collections from deceased estates and yard sales via eBay, but we can all do our part to make sure those in our own families do not share the same fate.

I hope you'll join the other Sepia Saturday enthusiasts this week presenting their own family heirlooms, bibles, books, letters and a variety of other ephemera.

References

[1] Baptism certificate for Hilda Charlson, 12 April 1911, on Hindsford St Anne Parish Page, Lancashire Online Parish Clerk Project.

[2] Baptism certificate for Ian Brackenbury Channell, Easter Day 1933, St Michael's Framlingham, Website of the Wizard of New Zealand.

[3] Licence from Bishop of London to Joseph Leonard Boulden, Vicar of St James, (To officiate in the district chapel of St Peter and St Paul, Enfield Lock, in the parish of St James), The National Archives, Ref. DRO54/45/2, 18 Aug 1922.

[4] London, England, Births and Baptisms, 1813-1906 database, from Ancestry.com.

[5] 1881, 1891, 1901, 1911 Census records, UK Census Collection from Ancestry.com.

[6] London, England, Electoral Registers, 1832-1965, from Ancestry.com

Sepia Saturday 179: Fun on the Sands - The Pleasure Palaces of Southport

Although the temptation for me with this week's Sepia Saturday image prompt is to travel with the itinerant photographer's wagon following fairground folk around the countryside, I've decided instead to stick with the non-professional side of photography. I've covered travelling photographers a number of times here on Photo-Sleuth, so will use the opportunity to enjoy the fun of the fair through the eye and lens of an amateur.

I recently acquired a collection of 177 glass plate and roll film negatives and have spent a couple of weeks scanning them. Although they were sourced locally, the majority appear to have been taken in England, possibly by a young couple who later emigrated to New Zealand. I've selected a few which I've identified as being on the Lancashire coast. More images will no doubt make their way into my posts over the next few months, but I do hope to study the collection as a whole, ultimately with a view to identifying the family depicted although that's very much a long shot at present.


Entrance to Southport Pier and Pavilion, undated
Quarter-plate glass negative (108 x 80mm, 4¼" x 3¼")
by an unidentified amateur photographer
Image © and collection of Brett Payne
Regular Photo-Sleuth readers might find this view of a pier entrance familiar, since two of my recent articles have dealt with seaside photographers in Blackpool, namely Charles Howell and Young Burns. This, however, is the entrance to Southport Pier, not only one of the first piers to be erected in iron but also the second longest in Great Britain.


Along the turreted frontage of the entrance are a number of signs and posters advertising the attractions for those prepared to pay the admission fee (2d. for children). One sign offers tickets for a ride on the electric tram to the head of the 1465 yard-long pier, where Professor Powsey, Champion High Diver of the World promised to entertain three times daily.


Professor Powsey's Terrible Cycle Dive, West Pier, Brighton, c.1910

Professor Powsey, The World's Greatest Diver, Southport Show Ground
Images © and courtesy of Southport.gb.com
Powsey and his daughter Gladys both operated in a number of coastal towns in the pre-Great War years, including Brighton, Yarmouth, Inverness and Southport. Historian Alan Taylor lived nearby the Southport Pier from from 1908 to 1913, and recalled seeing Bert Powsey's act:

His most sensational dive ... he tied both his hands to his sides, tied his legs togethr, then plunged in and emerged safe and sound with all his ropes loosened. The climax ... was the bicycle dive, an expedition which he conducted down a steep board into the sea with the bicycle alight and blazing around him.

(Wrigley, 2006)

At the pier head, close to the refreshment rooms, you might attend a performance of "The Aristocrats" by the Pier Company's Orchestra or, should you have tired of Southport's attractions, you might prefer to take a passage on a steam boat for the brief trip across to Blackpool.


Southpost Pier and Pavilion, c.1910
The main attraction, however, appears to have been Fred Karno's Company playing at the magnificent Pier Pavilion, built in 1902 and sadly demolished in 1968, the domed roof of which is clearly visible above the hoardings pasted with a variety of Karno's posters. In the postcard view above, a set of very similar posters is just visible to the right of the entrance to the very grand building.


Fred Karno, best known for his role in the early careers of Charlie Chaplin and Stan Laurel, had been visiting Merseyside for well over a decade. The earliest event I can find is the record of a performance at Liverpool's Prince of Wales Theatre, then managed by Captain Fred Wombwell (of Bostock & Wombwell's Menagerie fame) in March 1895. The two productions advertised on this occasion were The G.P.O. and Wakes Week.


Poster for Fred Karno's The G.P.O., Leeds Hippodrome, 6 Oct 1913
Image © and courtesy of Leeds Playbills
Karno claimed that it was in the successful sketch The G.P.O. that Walter Groves first created the famed "Tramp Walk," later passed on to Charlie Chaplin when he took on the role. The earliest records that I have been able to find for this burlesque show was when it was staged at the Sheffield Empire and Paragon theatres in October and November 1908 respectively (Clarence, 1909). An entry in the 4 June 1908 issue of The Stage newspaper confirms that "a colossal production, entitled 'G.P.O.'" was in active preparation.


Poster for Fred Karno's Wakes Week, Leeds Hippodrome, 28 Oct 1912
Image © and courtesy of Leeds Playbills
It is not clear when Wakes Week was first produced, but the paucity of references to it on the net suggest that it was not particularly successful, and may not have been around for long when this poster was printed in late 1912 for a performance in Leeds. After war broke out in 1914, the popularity of such entertainment waned considerably. After the war, the advent of cinematography more or less ensured its demise.


View Larger Map
This is the view today - nothing remains of the old pier entrance, but there is still an old-style a merry-go-round, and the top of the 2004 Marine Way Bridge is visible above Silcock's gaudy Funland. If you use your mouse to navigate Google's Streetview above by 180 degrees (click and drag to the left or right), wou will see a view almost identical to that in the second slide chosen from the collection, pictured below.


Statue of Queen Victoria, Nevill Street, Southport, undated
Quarter-plate glass negative (80 x 108mm, 3¼" x 4¼")
by an unidentified amateur photographer
Image © and collection of Brett Payne
The sharper-eyed readers will spot that Queen Victoria appears to have turned around some time in the last century or so. The bronze statue was unveiled in July 1904 in the Town Hall Gardens, in front of the Atkinson Art Gallery, now Stockport Library, but moved to the junction of Nevill Street and the Promenade on 20 December 1912 (Anon, n.d. & Wright, 1992). In 2005-2006, the statue was removed for restoration and, when reinstated, the decision was made that she should move a short distance to the south-east and face the town centre instead of the sea (Anon, 2004 & 2006).


The buildings to the left of the statue, which have survived largely intact, are adorned with signs and flags advertising the culinary delights available at the Victoria Baths Cafe and Restaurant. There is also a curious sign with a rather obvious "We Shall Have Rain," which I have deduced must be situated directly above a purveyor of umbrellas. I might add that, although they look a bit like rain, the pale brush strokes diagonally across the image are, I think, actually a result of a lack of care during the plate developing process.


Probably North Marine Gardens, Southport, undated
Quarter-plate glass negative (80 x 108mm, 3¼" x 4¼")
by an unidentified amateur photographer
Image © and collection of Brett Payne
The next poorly focussed photograph shows several figures on a footpath, taken from across a pond, complete with swan, and it seems likely that it was taken in the North Marine Gardens, shown on the 1911 map below.


Southport Pier Entrance, Pavilion, Nevill St and North Marine Gardens
Portion of 1911 1:2500 Ordnance Survey Map
Image © Crown Copyright and courtesy of Landmark Information Group

Shelter/bandstand in South Marine Gardens, Southport, undated
Quarter-plate glass negative (80 x 108mm, 3¼" x 4¼")
by an unidentified amateur photographer
Image © and collection of Brett Payne
The Marine Gardens and Promenade also extended to the south-west of the pier, and this photograph shows a bandstand which can be exactly matched with that in the two postcards below, dating from roughly 1910-1915, situated overlooking the southern arm of the Marine Lake.


The Promenade, Southport, c.1910-1915
Postcard by James Valentine (206845)

Lake and Gardens, Southport, c.1910-1915
Postcard by unidentified publisher
The second of these views gives a hint of the next destination of our photographer, on the far side of a lake adorned with row boats. Originally a cluster of amusement stalls, simple rides and side shows had formed around the pier entrance at the top of Nevill Street, but with the development of the area as the Promenade and River Gardens in 1887, what were deemed "less desirable" amenities had been forced to relocate to the southern end of the Marine Lake.


Southport Fair Ground and South Marine Gardens
Portion of 1911 1:2500 Ordnance Survey Map
Image © Crown Copyright and courtesy of Landmark Information Group
By the turn of the century, the attractions had evolved into a more extravagent enterprise, eventually known officially as the "White City," and continued to expand, with the stalls and sideshows becoming more elaborate and numerous.
1895 - Aerial Ride/Glide (closed in 1911) and Switchback Railway
1903 - Water Chute
1904 - Hiram Maxim's Flying Machine
1905 - Helter Skelter Lighthouse
1908 - Figure-of-Eight Toboggan Railway and River Caves
1911 - Lakeside Miniature Railway, connecting fair ground and pier


Water Chute and Flying Machine, Fair Ground, Southport, undated
Quarter-plate glass negative (108 x 80mm, 4¼" x 3¼")
by an unidentified amateur photographer
Image © and collection of Brett Payne
The photographer took two views of the Water Chute in action. The first was from the eastern shoreline of the lake, immediately in front of the stalls and adjcent to the chute's Landing Stage (marked on the OS map of 1911) and captures the big splash at the moment of impact.


An enlarged image includes some nice detail of the shallow, flat-bottomed skiffs used on the chute, the Flying Machine at rest (one of the "spaceships" is just visible behind the chute), and the superstructure of what appears from the map to be the Toboggan Railway in the background.


Water Chute and Helter Skelter House, Fair Ground, Southport, undated
Roll film or sheet negative (109 x 62mm, 4¼" x 2½")
by an unidentified amateur photographer
Image © and collection of Brett Payne
A second view, using roll or sheet film rather than a glass plate, was taken from the western shore of the lake, directly to the north of the chute, and freezes a skiff half-way down the slide. It may be that the photographs in this collection were taken with more than one camera, and even by more than one photographer. From a consideration of the similarity of the shooting styles and the sequence of shots outlined, it seems quite possible that they are from the same camera. If so, then it would have been of a type for use with spooled 116-format (4¼" x 2½") daylight-loading film, or a removable back could be replaced with a holder for sheet film or dry plates.


Ensign Folding Klito, unidentified model, c.1900-1920
Image © and courtesy of the Tauranga Heritage Collection
The Ensign Folding Klito, manufactured by Houghton Ltd. of London, was just such a camera, popular with many amateurs. However, there were several other makes available, such as the No 3 Sibyl, first produced in 1908.


At far right is the Helter Skelter Light House, opened in 1905 ...


... while other signs advertise the River Caves and Switchback rides.


Also visible is a crowd in front of the bowling alley.


Helter Skelter House, Water Chute and Flying Machine, Southport, PM 1907
Postcard by unidentified publisher
This colourised card, postmarked 1907, and a similar black-and-white view posted in 1912, show a fair ground area with fewer buildings, nevertheless with the Helter Skelter, Water Chute and Flying Machine already in place. A slightly earlier version of a similar view, posted in 1905, is lacking the Helter Skelter, which was only built that year.

The fair ground gradually shifted between 1922 and 1924 to the new Pleasureland site on reclaimed land to the north-west. This was after the River Gardens had been redeveloped as the King's Gardens, the latter having been opened by King George V and Queen Mary on 8 July 1913.


Marine Lanke, Southport, undated
Roll film or sheet negative (109 x 62mm, 4¼" x 2½")
by an unidentified amateur photographer
Image © and collection of Brett Payne
Finally, it appears that the photographer travelled north along the Marine Walk, which at that time separated the Marine Lake from the beach. This view is taken from due north of the Pier Pavilion, looking back towards the pier, pavilion and the town frontage along the Promenade. That's the end of the images that can be clearly identified as emanating from Southport, and a suitable point at which to take a breather. He also visited Blackpool, but those delights can wait for another time.

If you've lasted this long, thank you for persevering. It's a little premature to deduce much about the photographer at present. After all, the seven images discussed here are a tiny proprotion of the collection, and don't appear to include any of the photographer's companions. Nor can I be certain that all of these photographs were taken on the same visit to the town. However, it has been possible to deduce that at least some of the photographs were taken after December 1912, when Queen Victoria's statue arrived on Nevill Street. I also think it unlikely that they were taken after late 1914, when the war would have changed much of the atmosphere in Southport. This narrows the date range right down to a very comfortable two-year period, and forms a good anchor point around which to view the remaining photographs in the collection ... in due course.

References

Fred Karno's Company Stage Listings, 4 June 1908, on the Fred Karno Company web site.

Khaotic, The Fred Karno Story

Fred Karno and the Karsino from the London Borough of Richmond upon Thames.

ER Promenade Appraisal, Historic Development and Movement Report, Sefton Council.

Anon (n.d.) King's Gardens Conservation Management Plan and Historic Development of Southport and its Seafront, Sefton Metropolitan Borough Council Conservation Management Plan.

Anon (n.d.) Statue of Queen Victoria, Public Monuments & Sculpture Association.

Anon (1895) Amusements in Liverpool, in The Era (London, England), Saturday, March 16, 1895; Issue 2947, courtesy of Gale CENGAGE Learning.

Anon (2004) Sefton Council Measure Up Queen Victoria, courtesy of Southport.gb.com.

Anon (2006) Queen Victoria is on her way back to Southport, in Champion, 26 April 2006.

Clarence, Reginald (1909) The Stage Cyclopaedia, A Bibliography of Plays, London: The Stage, p.167, courtesy of The Internet Archive.

Cook, Evelyn (2006) Pleasureland Amusement Park, Marine Drive, Southport, courtesy of Coasterforce.com.

Copnall, Stephen (2005) Pleasureland Memories: A History of Southport's Amusement Park, Skelter Publishing, in Historic Development of Southport and its Seafront, Anon (see above).

Kamin, Dan (2008) The Comedy of Charlie Chaplin: Artistry in Motion, Scarecrow Press, p.11, courtesy of Google Books.

Wright, Geoff (1992) Southport, a Century Ago, courtesy of Southport.gb.com.

Wrigley, C.J. (2006) A.J.P. Taylor: Radical Historian of Europe, I.B.Tauris, p.12-13, courtesy of Google Books.

Sepia Saturday 174: Village Meeting, 10 am, under the Horse Chestnut tree

I'll admit right at the start that my photograph this week has little in common with the Sepia Saturday prompt, except that it shows a number of figures seated in a line, from top left to bottom right of the image, ostensibly facing towards the left of the camera. I hope you'll excuse this ill-disciplined straying from topic, but I'd like to attempt a deconstruction of a somewhat unusual image which has no obvious clues as to who the subjects are, or what event is illustrated.


Unidentified group photograph
Postcard format photograph by unidentified photographer
Image © and collection of Brett Payne
Another recent eBay find, this unused standard postcard format photograph came without any documentation as to location or provenance. The almost vertical, slightly curved black line in the middle of the photograph slightly displaces vertically the two halves of the image. This suggests that it was printed from a cracked glass plate negative, the printer not having been very careful about aligning the two pieces of glass.


Reverse of postcard format photograph by unidentified photographer
Image © and collection of Brett Payne
The back of the postcard has no photographer's imprint, and the stamp box is of an unusual stylised design that I can't recall coming across before. It's not listed on Ron Playle's Real Photo Stamp Boxes pages either. The use of glass plate camera of this format/size suggests that the event was important enough to warrant having a photographer on hand to make a record, but the fact that he didn't use postcard stock with his name printed on it suggests that he may not have had en established studio.


The figures are seated on chairs arranged on a well clipped lawn in front of a large tree shading some shrubbery to the right. The shape of the leaves and texture of the bark are very suggestive of the horse chestnut tree, as shown below, according to Wikipedia "widely cultivated in streets and parks throughout the temperate world," presumably as a feature and for the deep shade it produces. Of course it was also the friend of many a schoolboy, at least in my father's time, as the producer of conkers.


Horse chestnut tree Aesculus hippocastanum
Image courtesy of Alvesgaspar/Wikipedia
Nigel Aspdin, who also had a look over this photograph, thinks the leaves look fairly fresh; in the English Midlands, by September they tend to become rather tatty, so this was probably taken in mid-summer.


Behind and to the right of the tree trunk is a pillar or plinth of some kind. It may be for a sundial, although it seems a little high for that, and I can't make out any sign of the characteristic shape of a gnomon. There is also a T-shaped item set at a roughly 45 degree angle in the middle ground, but I've not been able to come up with any ideas as to what that might be.


To the left of the tree trunk, and roughly at the same distance from the camera as the pillar, is a multiple strand wire fence, with two Union Jacks on poles affixed to it, say about 5 paces apart. Although it cannot be seen in the photograph, there is probably a road or country lane on the other side of the fence. The flags appear to have been placed there to mark the venue.


To the far left, and apparently reversed right up to the fence, is a commercial van, possibly a Morris 1929 light van or similar make/model, as shown in in the slightly inappropriately named Austin7nut's Flickr photostream here and here. Seated in the open back of the van is a man in more casual attire - waistcoat and shirt sleeves - seated on a stool, with his elbows on his knees and his face in his hands. I think he's waiting for the talking to be over, and have speculated that he may be a caterer. When the talk is over perhaps he will, with the aid of others on the near side of the fence, off-load the food and transport it onto tables somewhere behind or to the left of the camera.


There are six men and three women, all fairly well-dressed, and probably well-heeled. The men have hats off, the women leave theirs on, as convention dictates for an outdoors gathering. The women's clothing and bar-strap shoes are distinctively late 1920s, with the high-crowned cloche (right) giving way to the deeper brimmed coal scuttle hat (centre). The older woman's brimless hat (left) may be a modified cloche, also typical of the 1920s.


The group seated on the chairs appear to be facing an unseen group of people off to the left of the postcard view, the toe of one man's shoe just visible in the extreme lower left corner of the image.


The woman standing in the centre of the seated group appears to be either addressing the gathering or answering questions. The man seated at far left, whose jacket and trousers are not quite as well-fitting as those of the others, also faces the crowd. It's perhaps also worth noting that few of the chairs match.


The remaining subjects are studiously avoiding eye contact with the gathering in front of them. Both of the men at the right, one with a nicely waxed moustache and a hat on the ground next to his chair, the other adjusting his pince nez, avert their gazes to their left. The latter, however, has considered the occasion important enough to wear a rose in his buttonhole. The rest either look down to the ground or pointedly off into the distance, perhaps towards where tables are being set up for lunch. Five of the men - all except the more relaxed gent on the far left - have their legs crossed, which may or may not have any significance.


Are they feeling uncomfortable with what the older of the three women is saying? Alternatively, perhaps she is answering some awkward questions from members of the audience. Perhaps they are just bored, and looking forward to lunch.

Who are they? Nigel suggests they might be engineers, professionals, management, etc. However with the women present, and given the pre-Second World War time frame, I'm inclined to think it far less likely to be a commercial occasion than a meeting of a village committee or the Board of Governors of a local school, perhaps comprising several landowners.


I feel they key to who they are probably lies in the rather odd-looking apparatus under the tree, behind the line of people. It appears to be a sloping board made from rather thick planks, on which several blocks of varying sizes and shapes are arranged. I think I can see some drawing pins, and possibly something like a tap handle. One of the shapes seems very irregular, and is perhaps a mineralogical specimen. What are they, samples, models, prizes? No means of support for the platform is visible, which is a pity, as this might have helped in its identification. If it had been held up by a centrally placed post, for example, I might have suggested something like a rudimentary lectern.

It's position at the time the photograph was taken suggests it may have been used or displayed earlier during the event, but had subsequently been moved out of the way during subsequent discussions.


There are also the remnants of what may be a negative number or title. Such an inscription would have been inscribed on the glass plate negative with black indian ink, thus appearing white on a print, and may have been partly removed prior to the making of this particular print.

Where are they? Is it a private garden or public park? Bearing in mind the fence bordering the lawn, I'm leaning towards the former. Perhaps illustrious Photo-Sleuth readers, including our regular Sepians, will be able to offer further ideas and suggestions. They'll be most welcome. For the moment I'm stumped, and the occasion must remain something of a mystery.

Post Script (4 May 2013)


Thanks to Paul Godfrey, the postcard printer's logo has been identified.

The logo seems to be a stylised W and W, used by the UK paper manufacturer Wellington and Ward of Elstree. I have a few walkies by Barker's Studio of Lowestoft that have this logo. W and W became part of the Ilford Group. I believe the Elstree site was later occupied by Dufay.