Pets have always been a favourite subject for amateur photographers and there are many interesting example to be found in old collections and albums. Often the proud owners are seen with their pets as the first photograph shows.
Women and their pet cats are frequently found. In fact I don’t recall any of men or boys with pet cats in my collection. The same goes for dogs – from my entirely unrepresentative collection I have far more women with dogs than men with dogs.
There are also many photographs of the pets by themselves as this set shows. It is particularly difficult for an amateur photographer to get a good shot of their pets. Even with modern cameras and a lot of patience it is a challenge to get a good likeness.
There is the usual problem with these photographs of knowing who we are looking at and when the photograph was taken. This group of three all have information written on the reverse. Top left is “Annie and Brownie, St Louis Ms Aug 1945.” Top right is Daisy, Teeny and Pedro Oct 21 1925.” You might have to look closely to see Teeny. Notes on the bottom picture read “Beaty, Teddy and his cat, see all the garden we have” but no date is given.
There are of course pet photographs to be found on Cabinet Cards and CDVs though these tend to be highly collectable and more expensive than the average. The CDV above is one of my favourites not only because it is a pet photograph but also because of its excellent condition and the fact that the dog is seated on a rare Art Nouveau chair (I suspect it’s Jugendstil but I can’t be certain). I paid £20 for this card and considered it to be a bargain.
If you want to know more about animals in vintage photography then I can recommend Beauty and the Beast by Arnold Arluke and Robert Bogdan. The book sticks to RPPCs as illustrations and ranges far and wide over the subject of our relationship with animals.
At some point most collectors of old photographs develop one or more specialist interests. In my case one of my specialist interests is “vintage dancing girls.” This came about because whenever I sorted through lots of photographs I began to notice that there was nearly always one or two photographs of girls in dance costumes, either solo or in groups. You might expect that these dancers would mostly be small girls appearing in some local production but it turns out that there are also large numbers of older dancers (think professional or semi-professional dancers) and even men in drag as this photograph illustrates!
The three girls in this photograph are typical of this category of Vintage Dancing Girls and they appear to be performing at some open air event with proud parents looking on in the background.
Groups seem to fall into different types. Some are obviously tap dancing groups whilst others clearly favour more impressionistic styles!
Some groups of young dancers were clearly more commercially successful. The Dinky Dots (sometimes spelled Dinkie Dots) were around in the 1930s. Apparently they were active in Bolton for quite a long time. Reminiscences from another young dancer at the Bolton Revisited site notes that ” The Dinky Dots all wore very frilly knickers under their costumes and I was tempted to join them just because I wanted to wear frilly underwear! ”
Another class of “dancer” seems likely to be just young women who like to dress in dance costume or pose like a dancer as this photograph shows.
Here are two more professional or semi-professional groups. The Opal Girls were clearly a successful cabaret act. Their agent was based in Ruislip. The girls in the weird hats were from Egham.
One thing I’ve noticed is that many dancers and dance troupes came from quite unlikely places like Barrow In Furness, like this group. It is likely that these dancers were based at local dance schools.
You can see my complete collection of Vintage Dancing Girls on Flickr. The photographs have been gradually accumulated over more than five years. Once you start a specialised collection such as this it is remarkable how often you come across other photographs which fit the category. The cost of acquiring these photographs can be as little as a few pence each especially when found in larger collections and seldom cost more than a pound or two. Of course, like any other collecting hobby prices are dictated by how many other collectors there are and the supply of “new” items over time. Fortunately there are so many old photographs that the supply is unlikely to exhausted any time soon.
[It’s worth pointing out that there are other specialist subjects that are very expensive to pursue. For instance if you wanted to collect Victorian post mortem photographs you would be lucky to find a good example for less than £100. ]
For years I sporadically collected topographical postcards of the area I live in, like many people do. Then I found this photograph at a table-top sale in Cromford, where I live, and bought it for 50p. It was the beginning of my obsession for collecting real old photographs and it grabbed my attention because it was so intriguing.
What’s going on here? When was it taken? Does it have any real meaning? The man looks like he’s a Native American although it could just be someone dressing up for a tourist photograph. Maybe he appears in hundreds of photos with many different people shaking his hand. Was it taken somewhere in the USA or in a studio in Basingstoke? When I acquired it there was no way of telling. As time went by and I learnt more about old photos and real photographic postcards, the mystery only deepened.
Photographic postcards were produced by the million and they weren’t all of famous landscapes or people. Anyone could go to a studio, have pictures taken and then have them printed on postcards to send to their friends. However, this isn’t a photo postcard. A postcard has specific dimensions, markings on the back such as a divider and a stamp box and almost always the name and address of a photographer and/or the studio he or she worked for. This photograph is bigger than a postcard, has nothing on the back and is clearly a real photograph (as opposed to a real photographic postcard). Even if the man was hired out to appear with anyone who would like to be seen with him there would likely be, at the very least, a studio stamp on the reverse. There isn’t.
It’s probable that I’ll never know who these people were or the circumstances that led up to the photograph being taken but that’s what makes it so intriguing. It would be great to one day know the full story but it’s also fun to speculate what’s going on and keep searching for an answer. The only trouble now is that I have hundreds of photographs, every one of them with a mystery to solve.
And that’s how my obsession with collecting old photographs began.