Jayne Shrimpton looks at how contemporary postcards reflect various aspects of the First World War
Jayne Shrimpton
Professional dress historian and picture specialist
As we near the end of our WW1 centenary commemorations, here we look back at some of the postcard images produced during the conflict and its aftermath. Printed picture postcards, a fashionable visual medium and form of postal communication since the late 1800s, came of age in the early 20th century. Besides traditional tourist views posted from holiday, in an era before radio or television picture postcards illustrated vividly the changing world: current affairs, political events, eminent public figures, popular performers, new inventions and fashions, as well as being used for business advertising and celebrating local scenes. Postcards expressed the Edwardian age, even influenced the way people viewed life, and in 1914 were perfectly placed to record visually the Great War.
Published by various companies, popular photographic and artist-drawn printed postcards were inexpensive and widely available from newsagents, stationers, bookshops and corner stores. Sometimes people collected postcards and displayed them in special postcard albums, while others were sent to friends and family bearing seasonal Christmas or Easter greetings and all manner of personal messages. Before ordinary homes had telephones, writing a brief note on a picture postcard to arrange a meeting, make a request or convey family news was the most convenient means of communication and a highly efficient inland postal service meant that postcards were often despatched and delivered on the same day.
Furthermore, in 1902 a new divided-back postcard providing separate spaces for message and the recipient’s address became authorised for postal communication. This convenient arrangement (meaning that notes no longer had to be written on the picture side) encouraged Edwardian portrait photographers to present clients’ portraits on postcard mounts. The new photographic format was well-established by 1907 and enjoyed its heyday between the 1910s and 1930s. Amateur photographers could also buy postcard stock from photographic suppliers and stationers, so by 1914 many family photographs of the period were presented as postcards, or, as they were initially termed, ‘real photo postcards’.
Postcards were produced in Britain and overseas throughout the war and many millions of pictorial scenes and family photographs were sent back and forth, playing a vital role in connecting people separated from their loved ones. Postcards were quick and easy for the censor to approve and it could take just two or three days for transportation between the Western Front and British homes. Numerous family postcard photographs of our forebears were taken during the war, in UK or foreign studios, outdoors, in the workplace, even near the frontline in the form of official regimental scenes. As for artist-drawn picture postcards, many were patriotic at this time, some overtly propagandist in tone, others self-consciously sentimental; Britain was also well-known for humorous postcards and some artists gave current events an amusing slant, casting a light-hearted veil over serious issues.
Postcards, diverse and revealing, recorded the First World War in vibrant detail as it unfolded, telling a complex and far-reaching story. Collectively, those images surviving today in private and public collections offer modern viewers fascinating and memorable pictures of that momentous time in history, ensuring that we will not forget.
Ready for action
Postcards were the most popular photographic portrait format by WW1 and many military photos of relatives and ancestors survive from this period – treasured likenesses of those separated from their families through war. One typical genre, exemplified by this postcard photograph of a young Grenadier Guardsman, c1914-1916, portrayed the young soldier or sailor, a new recruit kitted out in pristine uniform, having completed initial training and about to join his regiment or ship. Copies of the photo were kept by those left behind, probably framed and displayed on the window ledge or mantelpiece – a reminder of their brave son, brother or sweetheart away serving his country. His proud, expectant, smartly turned-out image literally stood in for the youth or man during his absence, while families hoped and prayed for his safe return. Tragically, some of these photographs turned out to be the last ever taken of their subject and became poignant memorial portraits of the dead. John Mills
Band of brothers
The Pals’ Battalions of the Great War are well-known and neighbours, friends and work colleagues volunteering together often posed in the studio, a show of solidarity in the face of the unknown. Similarly siblings of service age might also be photographed together in a studio postcard portrait, like these three brothers, born 1891, 1893 and 1894, pictured sometime after 1915. Two (left and centre) served in the 25th Battalion, Royal Fusiliers, while their younger brother joined the 7th Battalion, Norfolk Regiment. This family were exceptionally fortunate: all brothers survived the war but one was wounded in Mombasa in 1915 and another serving in France and Belgium, was also wounded, as demonstrated by the wound stripes on the sleeve of his uniform. Beryl Venn
Factory work
Photographic and artist-drawn postcards also depicted life on the Home Front during the war, sometimes factual and informative, but often humorous pictures aiming to appeal to viewers’ sense of humour and raise spirits as the nation became increasingly demoralised. A popular pictorial subject was the unprecedented employment of millions of women in jobs previously carried out by men – a trend that touched many households. Notably, from 1915 there arose an urgent demand for female factory workers, especially in the manufacture of munitions, and this inspired various postcards like this example, c1915-16, aimed at raising a smile and promoting a more acceptable view of what was exhausting and dangerous work. Jayne Shrimpton
On the buses
Many females engaged in war work were issued with civilian uniforms identifying their organisation and role and, like their male counterparts joining military units, often visited the studio to record their new position. Wartime transport employees were among the earliest women to receive occupational uniforms – those drafted in from offices to work on the trains, buses and trams. Glasgow City Corporation was among the first to replace its tram crews with female conductors and, in time, even some female drivers. This postcard photograph shows a nervous-looking tram conductress wearing her new uniform complete with picturesque tartan skirt, unique to Glasgow, and whistle to raise the alarm if required. Ashley Birches
Thinking of you
With much of the action during WW1 occurring on the Western front, we may easily overlook other theatres of war, but studio photographers operated globally and many postcard photographs commemorate forebears who served further afield for all or part of the conflict. This photograph taken in Alexandria, Egypt, c1916-1918, portrays a sergeant major of the North Staffordshire Regiment and in the corner a vignette image of his wife and children at home. Sometimes termed a ‘separation’ photograph, this distinctive pictorial genre was popular during the war: it presented, visually, a soldier alongside a ‘bubble’ image of his absent family and, when posted back to Britain, demonstrated that he was thinking of them – that although separated, they were never far from his heart. Kat Williams
WW1 silk
One particular genre of WW1 postcards, highly-collectible today, is the hand-made embroidered card sent by a serviceman to his loved ones at home. These special cards, known as WW1 silks, were generally sold as souvenirs to British soldiers, having been hand-embroidered by French or Belgian women working from home or in refugee camps. Some were Christmas- or Easter-themed, bore personal messages or were decorated with embroidered flowers, although patriotic Allied flags were also popular subjects, like the Union Jack and Belgian flags embroidered on this card from Belgium.
Christmas greetings
Throughout the war many of the artist-drawn printed picture postcards available in the shops and those from overseas, posted back to Britain, combined humorous scenes with patriotic or cheering messages. This style of card was popular with the various army divisions who commissioned postcards for their men to send back home. With Christmas a particularly poignant time for families separated by war, amusing regimental cards bearing seasonal greetings were popular, like this card produced by the 11th (Northern) Division for Christmas/New Year 1917-1918.
1918-1919 wedding
Many marriages took place throughout the duration of the war and immediately afterwards, following demobilisation. Most wartime wedding photographs were simple studio postcard portraits, the groom standing smartly in his service uniform, the bride usually wearing a fashionable daytime outfit. This couple are unidentified, but a military historian has identified the groom’s uniform as that of a corporal with the Northumberland Fusiliers, while the bride’s modish coat-dress with fashionable large collar and stylish hat date the scene to c1918-1919. Note how the back of the postcard states clearly that it is British-made: historically many postcards used in the UK were produced in Germany, but this was discontinued during and immediately after the war.
