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.

Sepia Saturday 182: William Snowdall Anderson of Ilkeston and Lorne

It's not often that a Sepia Saturday image prompt gives me the opportunity to include a profile of a Victorian Derbyshire photographer, and it seems unlikely that this week's photograph of a horse rider in the Australian bush should do so. Thanks to sharp-spotted fellow photohistorian Marcel Safier, I am able to present a Derbyshire photographer who emigrated to Australia, and spent most of his life in a remote town on the coast of Victoria.


Granby Street, Ilkeston, 1964 (Ref. DCER001377)
Image © NE Midland Photographic Record, courtesy of Picture the Past
William Snowdall Anderson was born in 1867 in Surfleet, a small village in rural south Lincolnshire (coincidentally only a couple of miles from the village of Pinchbeck, a name which featured in an article here last week). He was the third child of a wandering blacksmith; by his early teens the family had lived in at least five different villages. Little is known of his early career as a photographer except that by late 1886, when the 1887 edition of Kelly's trade directory was published, and by which time he was not yet 20 years old, he had opened a photographic studio in Granby Street, Ilkeston, Derbyshire. Adamson shows him operational at this address for at least a year until 1888.


Camperdown Chronicle, Saturday, 20 April 1895, page 2
Image courtesy of Marcel Safier
In November 1889 Anderson emigrated to Australia on the steamship Port Caroline, arriving in Victoria in early 1890, and was married to Bertha Wardle later that year. He worked as a photographer, initially with a studio in South Yarra, later touring Victoria as an itinerant photographer in a mobile caravan.


Mount St. George, Lorne, 1901 (Acc No H96.160/606)
Silver gelatin print (210 x 160mm) by W.S. Anderson, Lorne
Image © and courtesy of State Library of Victoria
In December 1898 he purchased a photographic business from J.S. Norman and J.W. Brown in the township of Lorne on the coast south-west of Melbourne.


Phantom Falls in flood, Lorne, 1902 (Acc No H96.160/682)
Silver gelatin print (157 x 210mm) by W.S. Anderson, Lorne
Image © and courtesy of State Library of Victoria
Lorne was then a fairly remote community, situated at the mouth of the Erskine River on the shores of Louttit Bay, accessible only by sea or by a long dusty road journey through the forested hills of what is now the Great Otway National Park. Anderson was not the only one drawn to it; Rudyard Kipling penned the following after a visit in 1891:

Buy my hot-wood clematis,
Buy a frond of fern,
Gathered where the Erskine leaps
Down the road to Lorne.

The Flowers, 1896

W. Mountjoy's Coach, Erskine River, Lorne, c. late 1890s-early 1900s
Mounted albumen print (165 x 107mm) by William Anderson of Lorne
Image © and courtesy of Museum Victoria
Judging by the number of similar photographs of Mountjoy's coach full of passengers crossing a bridge over the Erskine River, complete with characteristic Eucalyptus-clad backdrop, in the collection of Museum Victoria, these customers must have formed a significant part of Anderson's business. Over time, however, his output varied considerably, picturing both the beauty of the landscape surrounding Lorne and the lifestyle and character of its inhabitants and visitors.


View Larger Map

The same view today is different, naturally, but still recognisable.


Unidentified woman, c.late 1920s-early 1930s (Ref. MM 109704)
Silver gelatin print (89 x 137mm), attrib. William S. Anderson
Image © and courtesy of Museum Victoria
The following is from Museum Victoria:

From 1898 until his death in 1948 Anderson photographed the changing surrounding landscapes and visitors of guest houses in the area. His practice also included panoramic photography, stereoscopic photography, portraiture and experiments with trick photography.

Wagon, team of oxen and dog, 1905 (Acc No H96.160/1042)
Mounted silver gelatin print (205 x 150m), by W.S. Anderson
Image © and courtesy of State Library of Victoria
William S. Anderson died at Ormond, Victoria on 2 July 1948, aged 80, leaving four children and a legacy of five decades' worth of photographs, many of which survive in the State Library of Victoria, Museum Victoria and, no doubt, tucked away in innumerable family archives.

References

Barrie, Sandy (nd) Biographical notes for William Snowdall Anderson, (pers. comm., courtesy of Marcel Safier)

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.

Sepia Saturday 168: V-J Day in Church Gresley

Some years ago M.B. Venning sent me an unattributed image which I was unable to use at the time, but which fits this weeks Sepia Saturday theme very well, being a direct result of the Potsdam Conference and Declaration.


V-J celebrations in Regent Street, Church Gresley, 15 August 1945
Postcard photograph by unidentified photographer
Image © and courtesy of M.B. Venning
15 August 1945 was V-J (Victory over Japan) Day, marking the end of hostilities in the Second World War, and commemmorated in this part of the world as V-P (Victory in the Pacific) Day.

Most of the children and some of the adults have found time to dress up, and it's an interesting variety of costumes. Church Gresley was a mining and pottery town, and the men on the pavement to the right have perhaps just been given time off work. There are the usual nurses, maids, sailor suits and nursery rhyme characters (I think I see Mary, Mary, quite contrary in the back row, at left, there are a couple of potential Little Bo Peeps, and the Knave of Hearts is carrying a tart right in the centre).

Towards the front there are two boys dressed in costumes of more topical interest: the young lad on the left is a miner, complete with pit helmet (presumably like his Dad), while the one on the right wears a hastily constructed "V" for Victory costume (with the rank of corporal, perhaps like his Dad), and brandishes a Union Jack. Perhaps readers can spot some other characters in the crowd.

By the way, the large vehicle in the background is a Trent bus, a couple of which appeared in a previous Photo-Sleuth article.


Crowds on VJ day, Auckland, 15 August 1945
B&W Still from Weekly Review 208. National Film Unit, 1945
(click image to see the full video)
Image courtesy of Te Ara - the Encyclopedia of New Zealand
By way of contrast, these celebrations seem rather restrained compared with those that took place in countries surrounding the Pacific Ocean.

News of Japan's surrender following the dropping of two atom bombs was received in New Zealand at 11 a.m. on 15 August 1945. Sirens sounded immediately, and before long streamers were unfurled, and there were bands playing and people dancing in the streets.

Te Ara - the Encyclopedia of New Zealand

Crowds on VJ day, Willis Street, Wellington, 15 August 1945
B&W film negative by John Pascoe
Image courtesy of Alexander Turnbull Library

There were parades, bands playing, thanksgiving services, bonfires, dances and community sports. Once more the beer flowed, and there were streamers, whistles and dancing in the streets. Again there were two days' public holiday ... In Auckland, where there were few organised events, the city went out to enjoy itself the moment the factory whistle sounded. At first it was simply people drinking, dancing and scattering confetti. Then some rowdy people began throwing bottles. Windows were smashed, and people were hurt. By the evening, 51 people had been taken to hospital and 15 tons of glass lay in the roads.

New Zealand History online

"The Kiss," Times Square, New York, 15 August 1945
B&W photograph by Alfred Eisenstaedt
Image © Alfred Eisenstaedt—Time & Life Pictures/Getty Images
And of course there was plenty of kissing.

References

McGibbon, Ian (2012) Second World War - Final victory, from Te Ara - the Encyclopedia of New Zealand

Crowds on VJ day, Willis Street, Wellington, Pascoe, John Dobree, 1908-1972 :Photographic albums, prints and negatives, Ref: 1/4-001830-F, Alexander Turnbull Library.

Victory over Japan (VJ) Day, from New Zealand History online

V-J Day, 1945 - A Nation lets Loose, from Life.Time.com

Sailor, nurse from iconic VJ Day photo reunited, from CBS

Sepia Saturday 167: In Search of Mammoths - Journey to the Coldest Place on Earth

A few months ago Diana Burns sent me some scans of photographs in an album that she had just purchased. Taken during the northern hemisphere summer of 1914, the 22 snapshots appear to depict a trip down the River Lena in a remote part of Siberia. Although I did some research at the time Diana sent me the images, my work at the time precluded anything more than a cursory hunt on the net. This week's Sepia Saturday photo prompt includes a steam-powered river boat, which stimulated me into some further exploration, resulting in a breakthrough which I'd like to share with readers.

The twenty two photographic prints are housed in a red bound album with a gilt art nouveau title and black pages, a style that became very popular in the first couple of decades of the 20th century, as amateur photography took off with great gusto. The prints measure roughly 3½" x 5", which probably equates to the 122 film used by a No. 3A Folding Pocket Kodak camera.

Taken on the Buriatric Steppe, on the road from Yakutsk to Irkutsk (#2)
Paper print (roughly 95 x 126mm/3½" x 5") by unidentified photographer
Image © and courtesy of Diana Burns (Yakutsk Album)
Right from the start it is made clear by the compiler of the album that the journey documented in these pages is no ordinary one. The first image is at the very least bizarre, showing four dead sheep or goats mounted on the tops of some spindly trees, perhaps poplars or a similar species [silver birch family, thank you Mike].

A caption handwritten in pencil on the back of the print specifies the location - "on the Buriatric Steppe, on the road from Yakutsk to Irkutsk" - but leaves the interpetation of the subject matter completely up to the viewer. Although the term "Buriatric" does not seem to have entered common usage, the Buryats are the largest indigenous ethnic group in Siberia, living in the region surrounding Lake Baikal.

11 am 24 June Oost Eelgeenskaya, View of posting boats, River Lena (#3)
Paper print (roughly 95 x 126mm/3½" x 5") by unidentified photographer
Image © and courtesy of Diana Burns (Yakutsk Album)
The next two photos in the album quickly move on to the means by which this remote and inhospitable region was accessed, the Lena River. This view of "posting boats" is followed by a blurry shot in which a man standing on top of a boat is identified as "Digby," with the added information that it was taken at 3.15pm on 24 June 1914.

View of Paddle S/S "Yakut" off Oostkootsk. 30th June (#8)
Paper print (roughly 95 x 126mm/3½" x 5") by unidentified photographer
Image © and courtesy of Diana Burns (Yakutsk Album)
By 30th June, they had transferred to a paddle steamboat the Yakutsk, which took them all the way downstream to the town of Yakutsk, in a region often described as the coldest place on earth. For a westerner to make a journey into the Siberian heartland in 1914 seemed to me rather unusual. Large deposits of gold and other minerals were discovered in Siberia in the 1880s and 1890s, resulting in the development of Yakutsk as a significant centre, but westerners were still the exception, even by 1914.

Image © Brett Payne & Google Maps
The diary transcript of an expedition by intrepid Australian ornithologists Robert Hall and Ernie Trebilcock down the River Lena a decade earlier (Robin & Sirina, nd) shows that they must have taken the same route, probably because it was the easiest way to get into Siberia at the time. Given the fragmentary record of Diana's Yakutsk album, I've taken the liberty of including extracts from the diary and some additional photographs taken by them. Transport technology is unlikely to have changed much in the intervening years, so the length of the journey (14 days) was probably similar, and the added detail will help to illustrate the 1914 journey. The full transcript of Trebilcock's diary, for those who are interested, may be found here.

I've also read Sokolnikov's account of a journey to Siberia in 1899 for further background material. My task was was complicated by the multitude of spellings of place names:

• Vercholensk = Verkholensk
• Gigalowa = Zhigalov = Zhigalovo
• Oostkootsk = Oustkoutsk = Ust-Kut
• Olekminsk = Olyokminsk
• Jarkutsk = Yakutsk

Horse and wagon transport Siberia, 1903
Glass plate negative by Hall & Trebilcock
Image © State Library of Victoria and courtesy of Robin & Sirina
The travellers would have started their journey on the Trans-Siberian Railway, which reached Irkutsk in 1898. The first stage of the journey from Irkutsk by post horses, shown in the image above, took about three days:

Left Irkutsk early in morning by post horses – two conveyances ea having three horses. Bells – two small bells suspended from the top of the arch over the middle horse. Carriage slung on poles, no springs! Each stage is about 20 to 35 versts long. At the end of each there is a real house where a supply of fresh horses is always ready, & where the traveller can get a samovar, or if necessary free shelter for 24 hours. The horses travel very quickly, their drivers often urging them into a gallop, much to the discomfort of the traveller if he is not well provided with pillows & cushions ... Bells on arch above horse have to be tied up while in towns to prevent their ringing.

3.15pm 24 June 1914, View of Boat, Digby standing on top of boat (#4)
Paper print (roughly 95 x 126mm/3½" x 5") by unidentified photographer
Image © and courtesy of Diana Burns (Yakutsk Album)
From somewhere in the vicinity of Zhigalovo - I wasn't able to find the place referred to as "Eelgeenskaya" - they would have transferred to a long, thin, shallow bottomed boat (Sokolnikov refers to them as pauzki):

This distance (335 versts) we did in a boat, mainly by drifting with the current, in four days & three nights. Our boat, which was one of the usual kind used on the Lena for such purposes was about 40 ft. long, & had a deck house wh. though not high was large enough to shelter us & our luggage at night.

11.30am 25 June. P S/S Alexandra & barge in tow, River Lena (#7)
Paper print (roughly 95 x 126mm/3½" x 5") by unidentified photographer
Image © and courtesy of Diana Burns (Yakutsk Album)
Our intrepid explorers passed the paddle steamer Alexandra towing a barge upstream, similar to those described by Trebilcock:

Passed a number of merchants barges drifting down stream. These are veritable floating warehouses, doing both a wholesale & a retail biz at an enormous profit, giving credit & charging for it.

Music aboard the Lena River barge 1903
Glass plate negative by Hall & Trebilcock
Image © State Library of Victoria and courtesy of Robin & Sirina
When they reached Oost Kootsk (Ust-Kut) the Lena became considerably wider and they were able to board the more spacious and comfortable paddle steamer Yakut for the remainder of the journey downstream. In 1903 the company included a couple of women, a samovar was on the boil, and even musical entertainment was provided.

Very comfortable considering locality – very little diffce betn 1st & 2nd class except in price. But third class! Meals not supplied for the fare – meal tariff very high. Boat travels very fast. Russians cross themselves on starting their journey ... Had a very pleasant evening of a social nature. French was the language. Got on very well with two young Russian ladies.

One hopes the later travellers enjoyed similarly salubrious company.

12.00pm 5th July. Olekminsk. View of the church (#13)
Paper print (roughly 126 x 95mm/5" x 3½") by unidentified photographer
Image © and courtesy of Diana Burns (Yakutsk Album)

Спасский собор, Olyokminsk
Image © 2008 voluntas_tua and courtesy of Panoramio
During the 1914 journey a brief stop was made on Sunday 5th July at the riverside settlement of Olekminsk (Olyokminsk), perhaps to attend a church service. This snapshot produced in 1914 shows a church that has changed remarkably little in the century since.

Wooden building, gateway and courtyard in unidentified location (#15)
Paper print (roughly 126 x 95mm/5" x 3½") by unidentified photographer
Image © and courtesy of Diana Burns (Yakutsk Album)
A few days later, they reached the town of Yakutsk. There are no photographs in the album that are captioned with the town's name, although there is a view (shown above) which includes a substantial wooden building with very ornate window frames, a courtyard with what might be stacks of firewood, just visible through a large signposted gateway, flanked by street lamps, and adjacent to an unpaved road. It is almost certainly the premises where the next four images were taken.

Displaying a collection of fossil bones (#18-21)
Paper prints (roughly 4" x 5") by unidentified photographer
Image © and courtesy of Diana Burns (Yakutsk Album)
Among the last few photographs in the album are four slightly larger images (roughly 4" x 5", used by a variety of roll film formats) which have less of a sepia tint. In fact, their quality is so much better than the others, in terms of focus, composition, exposure, even processing, that I find it difficult to believe they were taken with the same camera, even by the same photographer. They depict a man (in one photo he is accompanied by three others) with a trilby hat and pipe displaying a number of fossil bones; using my rudimentary knowledge of palaeontology I have been able to identify tusks and jaw bone of the woolly mammoth, as well as a woolly rhinoceros skull and horn.

Russian newspapers or broadsheets (#22)
Paper print (roughly 126 x 95mm/5" x 3½") by unidentified photographer
Image © and courtesy of Diana Burns (Yakutsk Album)
The final image in the album is perhaps merely a curiosity. It depicts a couple of pages from a Russian newspaper or broadsheet pinned up on boards, leaning against the wooden boards of a wall. It is not well focussed and my understanding of Russian is slim to non-existent, but I think I can make out the following (what it really means, I haven't a clue):

YAKUTSK CIRCUIT ... RENTING BICYCLES

Apart from the mention of "Digby" and "D." in the captions to three of the photographs, there are no clues as to the identity of the subjects, or to the owner of the album. Nor is there any real indication as to the purpose of the trip. Given that Europe was on the cusp of war, it would have been a tricky time to be travelling abroad. Prior to doing further research my own impression was that the tusk/horn/fossil photos, despite being at the end of the album, actually provided a focus point and could have formed the primary reason for the expedition.

Bassett Digby, correspondent for the Chicago Daily News, 1918
Glass plate negative (4" x 5") of paper print tacked on board
Chicago Daily News neg. coll., DN-0003451, courtesy of Chicago History Museum & American Memory from the Library of Congress
I won't relate the full story here, but using the words Digby, mammoth and Yakutsk in a Google search yielded the first clues: a book written in 1913 recounting a trip through Siberia by R.L. Wright and Bassett Digby, a paper on "the provenance of Bassett Digby's contributions to the Natural History Museum, London, and the British Museum" written by his grand-daughter, and a book written in 1926 by Bassett Digby himself, "The Mammoth and Mammoth-Hunting in North-East Siberia."

Woolly mammoth model at the Royal British Columbia Museum
Image © 2011 Flying Puffin & courtesy of Flickr
Bassett Digby was a journalist who followed in the footsteps of Mark Twain and others by funding his adventures with travel writing. After the publication of Through Siberia: an Empire in the Making in 1913, Digby returned to Siberia the following year. It is not clear what the primary purpose of the trip was but, as is clear from his book and research carried out recently by Susan Digby (2004 & 2008), mammoths featured prominently. Apart from the scientific interest, there was also a significant commercial trade:

In the early twentieth century there was an active market for mammoth ivory, and Yakutsk was the location of tusk yards maintained by middlemen who bought ivory and other fossil finds from native peoples for sale to southern traders. Good quality mammoth ivory was used as an alternative to elephant tusks for such things as piano keys, combs, jewellery, chess sets and billiard balls.

Although Digby provided the "first written comprehensive English-language information on [the mammoth]," Susan notes:

Digby’s involvement in this financial side of mammoth ivory collection is unknown ... [his] journey to Yakutsk was definitely enmeshed with the story of trade and potential riches. His acknowledgement read: "I wish to make my acknowledgements to a certain genial and enterprising gentleman who took a sporting chance on my being able to find a big hoard of mammoth-ivory for him." This acknowledgement, together with a collection of photographs in an album, suggests that he funded his travel and collecting interests by locating ivory for an ivory trader.

Valuation of mammoth jaws and tusks, Ivory trade in Yakutsk, July 1914
Series of paper prints (3" x 2") mounted on black card album page
Image courtesy of Susan Ann Digby, Adsbol family album
The following extract from Digby's 1926 book describes his discovery of a hoard of mammoth ivory in the trader's store room, later arrayed, photographed and valued in the yard outide, as depicted in images #15, #18-#21 from Diana's Yakutsk album. A further series of photographs of the hoard was discovered by Susan and her brother, in an album originally owned by Martinus Adsbol, who had accompanied Digby on the journey to Yakutsk.

Our luck was in. One morning we located a really big hoard. A key was turned in a massive padlock. With a muffled clang the sheet-iron door was flung open. We stepped out of the blinding July sunshine into pitchdarkness ... and, dimly at first, then more and more clearly, this great heap of Arctic loot appeared, like the slow developing of a photographic plate. Huge horns that curled this way and that ... No, not horns; but tusks, mammoth tusks by the dozen, by the score – hundreds and hundreds of them, cairn upon cairn, stack upon stack. Tons and tons of prehistoric ivory.

The snapshots in the Adsbol album are smaller, measuring approx. 3" x 2" although they are roughly trimmed. This may correspond to the 129 film format developed by Kodak for the Houghton Ensignette No 2 and Deluxe cameras first produced in 1912-1913.

Woolly rhinoceros depicted in rock art at Chauvet Cave, southern France
Image © 2006 Inocybe and courtesy of Wikipedia Commons
Susan has worked with Natural History Museum staff in London to successfully identify several specimens and artefacts in the museum's collection as being those which her grandfather provided upon his return from his second Siberian trip. The woolly rhinoceros horn in particular was an especially rare find.

Mammoth-hunting in Siberia, by Bassett Digby
Published in The Graphic, 6 March 1915
Whilst the identity of the photographer of the majority of the photographs in the Yakutsk album remains unknown, if there is any doubt whatsoever that they were taken on the same trip, this is dispelled by another find on the net. An article written by Bassett Digby and published by The Graphic in 1915 includes two of the photographs which appear in Diana's album.

Like the Adsbol family photos discovered by Susan Digby, Diana Burns' Yakutsk album plays an important role in piecing together the history of the early 20th Century exploration of Siberia. We can be fairly sure that there were three separate cameras recording the trip, and probably three men participating in the expedition - the search to identify the "third man" continues.

If you've survived this far, then have a quick look at the remaining photos in Diana's Yakutsk Album before adventuring further afield in search of more Sepian discoveries.

Yakutsk Album

Acknowledgements

Diana Burns has very kindly shared many of her "photofinds" with me, and I'm grateful for permission to use scans of the photographs in her private collection here on Photo-Sleuth. It's not very different from the crowdsourcing collaboration between various archival institutions and members of the public through Flickr's "The Commons" project.

Staff of the State Library of Victoria responded most promptly to my request for further information regarding Hall & Trebilcock's glass plate negatives.

I am also indebted to Susan Digby for giving me access to her engaging Ph.D. dissertation about her "ordinary" grandfather's extraordinary life and travels, as well as excerpts from articles that he wrote about the trip to Siberia, and for pointing me to other resources relating to Bassett Digby.

References

Buryats, River Lena, Trans-Siberian Railway, Yakutsk, Woolly mammoth and Woolly rhinoceros, from Wikipedia.

No. 3A Folding Pocket Kodak, from Historic Camera

The Ensignette Camera, from Early Photography

Roll film, from Camerapedia

Photograph of Chicago Daily News correspondent Bassett Digby, DN-0069953, Chicago Daily News negatives collection, Chicago History Museum, from American Memory (The Library of Congress Archive)

Letter to the Times - #2, from Gimcrack Hospital

The Ninety-Foot Plum Tree, Filling Some Gaps, by Mammoth Tales

Digby, Bassett (1915) Mammoth Hunting in Siberia, The Graphic, 6 March 1915, p.312.

Digby, Bassett (1916a) Along a great Siberian river, Travel 25 (June): 18–21, 46, 47.

Digby, Bassett (1916b) Yakutsk – A Siberian outpost, Travel 25 (July): 18–21, 45–48.

Digby, Susan A. (2004) Mammoths and wars, travel and home: The geographical life of journalist and natural historian Bassett Digby (1888-1962), unpubl. Ph.D. Dissertation (Geography), University of California, Los Angeles.

Digby, Susan A. (2008) Early twentieth-century collection of extinct mammals from northern Siberia: the provenance of Bassett Digby’s contributions to the Natural History Museum, London, and the British Museum, Archives of Natural History 35 (1): 105–117.

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

Robin, L. & Sirina, A. (nd) Siberian ornithology - Australian style, 1903, Fenner School of Environment & Society, Australian National University.

Sokolnikov, Prokopy N. (1899) Wives and Children of the Doukhobors (translation), from the Doukhboro Genealogy Website.

Tolmachoff, I.P. (1935) The carcasses of the mammoth and rhinoceros found in the frozen ground of Siberia, Transactions of the American Philosophical Society, vol. 24 (Part 2, June 1935), 11-74.

Trebilcock, R.E. (1903) Diary of Expedition to Siberia (transcript), from the State Library of Victoria (MS 9247).

Wright, R. L. and Digby, B. (1913) Through Siberia: an Empire in the Making, New York & London: McBride, Nast & Company, Hurst & Blackett.