Archive for the ‘photographer’ Tag

Lost Postcards No.2

old postcard berlin henry ainley

The second recently re-found old postcard from my small, random collection

old postcard berlin henry ainley

This one cost me a massive 20p (pencilled on the back). I think I bought it because it reminded me of Aubrey Beardsley and Oscar Wilde.

Aubrey Beardsley (1872 – 1898) by Frederick H. Evans (c.1894)

Aubrey Beardsley (1872 – 1898) by Frederick H. Evans (c.1894)

The postcard was “Manufactured in Berlin”. Oddly it specifies “For Inland use only” – as it’s written in English I assume it means in Britain not Germany.

The sitter is quite androgynous as you can see.

Lord Alfred ‘Bosie’ Douglas (1870–1945) is best known as Oscar Wilde’s lover, and is often blamed for his downfall.

Lord Alfred ‘Bosie’ Douglas (1870–1945) is best known as Oscar Wilde’s lover, and is often blamed for his downfall.

The name ‘Henry Ainley’ is printed at the bottom.

It turns out Henry Hinchliffe Ainley died the same year as Bosie. His dates are 21st August 1879 – 31st October 1945. He was an English actor of stage and screen, specialising in Shakespeare.

He was born in Leeds and brought up in Morley by father Richard, a cloth finisher, and mother Ada. He moved to London to pursue his career in acting. He made his professional stage debut as a messenger in Macbeth with F.R. Benson’s company.  Later he joined Herbert Beerbohm Tree’s company. He first came to prominence in 1902 as Paolo in Paolo and Francesca.

He played Gloucester in Henry V at the Lyceum in London. Ainley returned to Leeds to appear at the Grand Theatre. Later roles included Oliver Cromwell, Mark Antony in Julius Caesar and the lead in Macbeth. In 1912 he portrayed Malvolio and then Leontes under the direction of Harley Granville-Barker. He played Hamlet several times, including a 1930 production which was selected for a Royal Command Performance.

John Gielgud thought highly of Ainley and had a long-standing ambition to perform with him which he eventually fulfilled when he played Iago to Ainley’s Othello in a 1932 BBC Radio broadcast. Gielgud however described Ainley’s Prospero as “disastrous”, recalling it in 1996 (in The Sunday Times).

Ainley played Shakespeare on screen in Henry VIII (1911) and As You Like It (1936), the latter alongside his son Richard and Laurence Olivier.

Among the other roles Ainley played were: Robert Waring in The Shulamite (The Savoy Theatre, London, 1906.); Joseph Quinney in Quinneys (on stage in 1915 and on film in 1919); in A. A. Milne’s The Dover Road opposite Athene Seyler (1922); the Bishop of Chelsea in Bernard Shaw’s Getting Married (The Haymarket Theatre);  James Fraser in St. John Ervine’s The First Mrs. Fraser (1929 on stage, 1932 on film); and he starred in James Elroy Flecker’s Hassan (on stage and on radio). He was an early example of stage-screen crossover.

His films include:
She Stoops to Conquer (1914)
Sweet Lavender (1915)
Sowing the Wind (1916)
The Marriage of William Ashe (1916)
The Manxman (1917) – not to be confused with the second silent adaptation, directed by Hitchcock twelve years alter (1929)
Build Thy House (1920)
The Prince and the Beggarmaid (1921)
The Royal Oak (1923)
The First Mrs. Fraser (1932)

In 1921 Ainley became a member of the council of RADA (the Royal Academy of Dramatic Arts) and was its president from 1931 to 1933.

Ainley led his own own theatre company. In 1932 he helped save the debt-laden Sadler’s Wells theatre. Ainley thought Sadler’s Wells regular Samuel Phelps the “greatest actor of all” and Sir Johnston Forbes-Robertson “the greatest of Hamlets”.

Ainley was married three times – to Susanne Sheldon, Elaine Fearon and novelist Bettina Riddle (aka Baroness von Hutten zum Stolzenberg). He had several children, including actors Henry T. Ainley, Richard Ainley and Anthony Ainley, as well as non-thesps Sam and Timothy Ainley. Another off-spring was Henrietta Riddle, who was briefly engaged to journalist Alistair Cooke in 1932.

15 letters in the possession of Olivier’s widow, Joan Plowright, suggest that Ainley may have had a sexual relationship with Dear, Dear Larry in the late 30s. The letters suggest that Ainley was infatuated with Olivier.

Ainley died in London and is buried in Kensal Green Cemetery. I’ll go visit next time I’m over that way.

henry ainley as romeo in romeo and juliet

As Romeo in ‘Romeo and Juliet’

The photo in my postcard seems to have been taken by Lizzie Caswall-Smith.

henry ainley Photo by Lizzie Caswall-Smith

Lizzie Caswall-Smith (1870-1958) (possibly without hyphen) is pretty interesting in her own right. She was a British photographer who specialised in society and celebrity studio portraits. These were often used for postcards.

Caswall-Smith was associated with the women’s suffrage movement and photographed many suffragettes including Christabel Pankhurst, Flora Drummond and Millicent Fawcett. The other actors she photographed included Camille Clifford, Sydney Valentine, Billie Burke and Maude Fealy. She photographed Florence Nightingale in 1910 (which fetched £5,500 (Nov 2008)). On the back of that particular photograph she had jotted in pencil: “Florence Nightingale taken just before she died, House nr Park Lane (London). The only photograph I ever took out of studio – I shall never forget the experience.”

Caswall-Smith operated the Gainsborough Studio at 309 Oxford Street from 1907 until 1920 when she moved to 90 Great Russell Street. She stayed at that address until her retirement in 1930 (aged 60). She exhibited at the Royal Photographic Society in 1902 and 1913. Her portraits of Peter Llewelyn Davies and J. M. Barrie are in the collection of the National Portrait Gallery, London.

 

 

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Back to Becontree (Thurston Hopkins)

This week I did another talk at a secondary school for Robert Peston’s charitySpeakers for Schools‘ – the subject was careers in TV/media, the school was Dagenham Park C of E School in East London (probably the politest school I’ve ever been to). This was off my manor and brought me out to Barking station and then three short tube stops to Dagenham Heath at the eastern end of the District line, where I’d never before ventured. The penultimate stop was Becontree which is where my maternal grandfather came from. A place I’d never visited or even travelled through.

I marked this connection with the locality by putting a photo of my grandfather as my first slide in the talk entitled ‘A Media Career in 21 Pictures’, delivered to 60 energetic and enthusiastic Year 7s (a tough prospect which turned out to be a delight – they particularly picked up on the video game I made, ‘MindGym’). I asked them if they knew what a typewriter was, that machine he’s leaning on – a bright boy with an ear stud near the back explained to his classmates “it’s a keyboard but the writing goes straight onto paper”.

Ian Harris at Picture Post by Thurston Hopkins photographer photograph

Ian Harris at Picture Post by Thurston Hopkins

I keep the photo by my desk (I can reach out and touch it now from where I sit). It was taken when my grandfather, Ian Harris, was working at ‘Picture Post’ magazine as a scientist specialising in printing technology. I decided to Post this Picture (above) because it is not yet on the internet.

1946_Picture_Post_Magazine 1946 Picture Post Magazine cover - April 27, 1946

27th April 1946

I’ve always liked the Hopkins picture because I never ever saw my grandfather smoke but in this the saucer is filled with fag-ends while he’s taking a deep drag. My old next-door-neighbour from childhood years, Michelle Haberl, noticed that the headline on the top newspaper in the pile includes the word “tobacco” and says he was just doing some research (which made me laugh). My younger brother posted this photo in response and captured the essence of the man by saying: “best person i ever knew”:

Ian Harris

Ian Harris

I hardly recognise him in this picture because of the hat which places him in a film noir – along with yet another cigarette. I don’t know who took this photograph, perhaps Hopkins or another Picture Post staffer.

‘Picture Post’ ran from just before the war (1938) to 1957 and was the equivalent of ‘Life’ magazine in the USA, a popular magazine centred on excellent photo-journalism and visually led. Its photographers included Bert Hardy, Thurston Hopkins, Grace Robertson, Kurt Hutton, Felix H. Man/Hans Baumann, Francis Reiss, Humphrey Spender, John Chillingworth and Leonard McCombe. Its editorial perspective was liberal and anti-Fascist, campaigning from its launch against the persecution of Jews in Nazi Germany.

Thurston Hopkins passed away only four years ago. I regret now not having thought to look him up and go visit. He was born on 16th April 1913 (two years before my grandfather) and lived to 101.

He studied graphic art at Brighton College of Art and was a self-taught photographer. He started out by joining the PhotoPress Agency, reflecting the shift in newspapers from illustration to photography (the kind of printing technology advance which was at the heart of my grandfather’s scientific career).  During the Second World War he served in the RAF Photographic Unit in Italy and the Middle East (my grandfather by contrast served in the Navy, based in Portsmouth, in some kind of secret scientific capacity he never spoke of in any detail). That’s where Hopkins took up his trusty Leica which was his weapon of choice throughout his career (apart from the odd occasional use of a Rolleiflex). It’s also where he saw Picture Post, at military posts everywhere. After the war he worked for new London agency Camera Press.

Hopkins put together a dummy issue of Picture Post made up entirely of his own photos and features to get him the gig as a freelancer. He went onto the staff in 1950, working exclusively for PP.

One of his first stories was centred on stray cats living in London’s many bomb sites and alleys, ‘Cats of London’ (24th Feb 1951).

Thurston Hopkins La Dolce Vita, Knightsbridge, London, 1953 photograph

La Dolce Vita, Knightsbridge, London, 1953

This was one of his best known and most commercially successful photographs (the driver is a West End chauffeur).

Hopkins did stories about children playing on urban streets to highlight the need for playground provision. In 1956 he photographed a story on the slums of Liverpool which ended up being spiked when city officials complained to the magazine’s proprietor, Edward Hulton, about its negative portrayal of the city. Yesterday afternoon I was helping judge the Popular Factual category of the Broadcast Awards. I noticed that one of the programmes entered, ‘The £1 Houses’ (Channel 4/Topical), set in Liverpool drew similar flack (unconvincing) from the municipal authorities. Photographers as messengers at risk of being on the receiving end of the proverbial shooting.

Hopkins met his wife, a fellow photographer, at Picture Post, marrying in 1955. She was  Grace Robertson. She also published under the name Dick Muir in order to secure work at the Report agency at a time when prejudice against women photographers was still rife in the industry.

photographers Thurston Hopkins and Grace Robertson by harry borden

Thurston Hopkins and Grace Robertson by Harry Borden

After the closure of Picture Post in 1957 Hopkins went into advertising photography, based in his Chiswick studio. He taught on the highly reputed photography course at Guildford School of Art. In his later years he returned to an early love, painting.

thurston hopkins photographer picture post

thurston-hopkins-lipstick-check_thurston hopkins photographer picture post

thurston-hopkins-lipstick-check_thurston hopkins photographer picture post

 

Learning How to See

I went to the Dorothea Lange photography exhibition (Politics of Seeing) at the Barbican Art Gallery for the second time today on the way home from Little Dot Studios. There was a quotation by her I noticed the first time which struck me as strongly the second as it captures my view of Photography:

The camera is an instrument that teaches people how to see without a camera

Hence all my Instagramming over the years (and Moblogging before that).

Photographer Dorothea Lange with Graflex camera (1937)

Dorothea Lange with Graflex camera (1937)

Photograph Dorothea Lange Migrant Mother

‘Migrant Mother’ (1936)

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