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An Egalitarian Gaze: Photographic Representations of Working People in Britain, 1919- 1939

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An Egalitarian Gaze: Photographic Representations of Working People in Britain, 1919- 1939 University of Huddersfield Repository Nolan, MIchael An Egalitarian Gaze: Photographic Representations of Working People in Britain, 1919- 1939. Original Citation Nolan, MIchael (2020) An Egalitarian Gaze: Photographic Representations of Working People in Britain, 1919- 1939. Doctoral thesis, University of Huddersfield. This version is available at http://eprints.hud.ac.uk/id/eprint/35301/ The University Repository is a digital collection of the research output of the University, available on Open Access. Copyright and Moral Rights for the items on this site are retained by the individual author and/or other copyright owners. Users may access full items free of charge; copies of full text items generally can be reproduced, displayed or performed and given to third parties in any format or medium for personal research or study, educational or not-for-profit purposes without prior permission or charge, provided: • The authors, title and full bibliographic details is credited in any copy; • A hyperlink and/or URL is included for the original metadata page; and • The content is not changed in any way. For more information, including our policy and submission procedure, please contact the Repository Team at: [email protected]. http://eprints.hud.ac.uk/ An Egalitarian Gaze. Photographic Representations of Working People in Britain, 1919- 1939. Michael Nolan. A thesis submitted to the University of Huddersfield in partial fulfilment of the requirements for the degree of Doctor of Philosophy. The University of Huddersfield. February 2020. Tom, Annie, Mary and Paul. Castlegate, Huddersfield, circa 1938. 2 To Diane, Lauren, Daniel and Ryan. 3 Copyright Statement. i.The author of this thesis (including any appendices and/ or schedules to this thesis) owns any copyright in it (the “Copyright”) and he has given The University of Huddersfield the right to use such Copyright for any administrative, promotional, educational and/or teaching purposes. ii. Copies of this thesis, either in full or in extracts, may be made only in accordance with the regulations of the University Library. Details of these regulations may be obtained from the Librarian. Details of these regulations may be obtained from the Librarian. This page must form part of any such copies made. iii. The ownership of any patents, designs, trademarks and any and all other intellectual property rights except for the Copyright (the “Intellectual Property Rights”) and any reproductions of copyright works, for example graphs and tables (“Reproductions”), which may be described in this thesis, may not be owned by the author and may be owned by third parties. Such Intellectual Property Rights and Reproductions cannot and must not be made available for use without permission of the owner(s) of the relevant Intellectual Property Rights and/or Reproductions. 4 Acknowledgements: The origins of this thesis lay in the previous generation of Nolans and Ryans, whose lives and stories have constantly inspired me. More immediately, I would like to thank all of the archivists that I have had the pleasure of working with. Invariably they were welcoming, enthusiastic and keen to help me explore their treasures. Keith Laybourn, Liam Devlin and Alex von Lunen, my supervisors, have been excellent, carefully developing my crude enthusiasms into, hopefully, something better. Above all, I would like to thank Diane. She prompted me to take up a PhD in the first place, she gave me the space to pursue it, and she was unflagging in her confidence. Thanks Diane. 5 Contents Abstract ..................................................................................................................................... 11 Introduction .............................................................................................................................. 12 Chapter One. Obfuscations. The Marginalisation of Working People. .......................................... 29 i.Michel Foucault – a toolkit for understanding the photography of working people? .................. 31 ii. One group of amateur photographers and their selection of images. ....................................... 36 iii. Five Professional Photographers and their Representations of Working People. ..................... 46 iv. Two Newspapers and Two Photographers: How the Press Photographed Working People. ..... 77 v. Conclusions .......................................................................................................................... 103 Chapter Two. Immigrations: the impact of the German- speaking exiles on the photography of working people in Britain. ........................................................................................................ 108 i.Germany. ............................................................................................................................... 109 ii. Britain. ................................................................................................................................. 118 iii. Conclusions. ........................................................................................................................ 141 Chapter Three. Explorations. Photographic journeys among the working classes. ...................... 146 Conclusions. ............................................................................................................................ 189 Chapter Four. Exaltations. A Counter Narrative. ........................................................................ 192 i.A Family Photography. ........................................................................................................... 197 ii. The Press. ............................................................................................................................ 243 iii. Conclusions. ........................................................................................................................ 289 Conclusion ............................................................................................................................... 294 Bibliography ............................................................................................................................ 302 References………………………………………………………………………………………………………………………………. 314 6 List of Photographs: Chapter 1. 1. From the archive of the Huddersfield Naturalist, Antiquarian and Photographic Society. 2. From Woodend Museum, Scarborough, Box PH5. 3. From Grimsby Local History Library, Box G727. 4. From the Yorkshire Museum of Farming, (P238-40). 5. From Arthur G. Credland, Harry Cartlidge, 1893-1987: Hull Photographer (Hull, 1998). 6-7. From Peter Hagerty, Liverpool Through the Lens: Photographs by Edward Chambre Hardman (London, 2007) 8-10. From Robert Elwell, John Maltby (London,2000). 11. From, J. Allan Cash, Living on my Camera: Ten Years of Free Lancing (Aylesbury, 1946). 12-13. From E.O.Hoppe, One Hundred Thousand Exposures: The Success of a Photographer (London, 1945). 14-15. From W. Pett Ridge, London Types, (London, 1926). 16-17. From the Woodend Museum, Scarborough, Box PH21. 18-19. From Grimsby Local History Library, Box 727/387-1. 20-23. From the Yorkshire Museum of Farming, respectively- P2719, P400, P2720, P8421, P3317. 24-25. From Heritage Quay, Huddersfield University, Hartley Contacts, 0293, 0294 and S/CO54/1344. 26-30. From Kirklees Local History Library. 31-32. From The Daily Herald archive, the National Media Museum, Box 1327. 33-37.The Daily Herald archive, Box 1328. 38-40. The Daily Herald archive, Box 1328. 41-44. The Daily Herald, Box 1320. 45. The Daily Mirror archive, Box 60. 46. The Daily Mirror archive, Box 59. 47. The Daily Mirror archive, Box 69. 48. The Daily Mirror archive, Box 71. 49. The Daily Mirror archive, DM 8931G. 7 50-54. The Grant Papers, National Media Museum. 55-56. The Daily Mirror archive, Lensman file. Chapter Two 1. From August Sander, Faces of Our Time (1929). 2. From Helmar Lerski, Everyday Faces (1931). 3 and 4. From his Charing Cross Road series. 5 and 6. From Duncan Forbes, Edith Tudor Hart, In the Shadow of Tyranny (Edinburgh, 2013). 7. From Bill Brandt, A Night in London (1938). 8. Bill Brandt, Picture Post, 1939. 9. From Karl Hutton, Speaking Likenesses (London, 1947). 10. From Mike Seaborne, Cyril Arapoff: London in the Thirties (London, 2006). 11,12,13. Walter Nurnberg archive, National Media Museum, Box BA/WN1 and BA/WN4. Chapter 3 1. www.boltonworktown.co.uk 2. The Woman’s Dreadnought, 23rd October,1915. International Centre for Social History, Amsterdam. 3. The Woman’s Dreadnought, 23rd October, 1915. 4. Friends of Salford Museums Association, The Samuel Coulthurst Photographs: Victorian Salford and Manchester (Salford, 2000) 5. The Samuel Coulthurst Photographs. 6. The Samuel Coulthurst Photographs. 7. www.southtynesideimages.co.uk 8. www.southtynesideimages.co.uk 9. www.southtynesideimages.co.uk 10. www.southtynesideimages.co.uk 11. www.southtynesideimages.co.uk 12. www.southtynesideimages.co.uk 13. www.southtynesideimages.co.uk 14. www.streetsofliverpool.co.uk 8 15. www.streetsofliverpool.co.uk 16. www.southtynesideimages.uk 17. www.southtynesideimages.uk 18. www.southtynesideimages.uk 19. www.southtynesideimages.uk 20. www.southtynesideimages.uk 21. www.southtynesideimages.uk 22. Woodend Museum, Scarborough (Box PH5-P1). 23. Woodend Museum, Scarborough (Box PH5-P1). 24. www.mirrorpix.com 25. www.mirrorpix.com 26. Worktown Photographs, Bolton History Centre. 27. Worktown Photographs, Bolton History Centre. 28. Jessica Sutcliffe Face,
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