Fashionable ladies at the races. Photograph by Horace Nicholls, reproduced with kind permission of the Horace Nicholls Estate.
Guest post by Colin Harding
17 February, 2017 marked the 150th anniversary of the birth of an important and yet comparatively little-known British photographer. Perhaps more than any other photographer, Horace Nicholls has shaped our perception of Britain during the first decades of the twentieth century. Even though his name is probably unfamiliar, you will almost certainly recognise his iconic images of fashionable upper class ladies at Ascot or, in stark contrast, women munitions workers during the First World War.
During the early twentieth century, Horace Nicholls was one of Britain’s best known photographers. As one of the first photojournalists, Nicholls’s work shaped that of succeeding generations. Nicholls photographed the 2nd Anglo-Boer War in South Africa. He clarified legal copyright in photographs in a landmark court case in 1901. He photographed Edwardian social and sporting events and documented the impact of total war on the British people. As Britain’s first official photographer on the Home Front, he had unique access, particularly to women war workers. After the war, at the invitation of the Women’s War Work Sub Committee, Nicholls became the first head of the new Imperial War Museum’s photographic studio where he worked to secure and develop the museum’s photographic collections.
From left to right: Paul Cornish, Jamie Carlin, Kasia Tomasiewicz, Vikki Hawkins and Anna Ravenscroft of the IWM Second World War Galleries team
‘The test has now begun.’
These five words, which have struck fear into the hearts of many, seem oddly out of place in the Wellcome Collection’s impressive Reading Room. It’s not just the location, rather that all participants including five from the IWM’s Second World War Galleries team, are wearing false moustaches. How better to get into the mind-set of a would-be British Army officer in 1942?
To celebrate the opening of the Tavistock Institute Archive papers on the War Office Selection Boards or WOSBs (pronounced wos-bees) at the Wellcome Library, a series of innovative workshops have been created to allow visitors to undergo the same military psychology tests that were used over 70 years ago. Although never kept a secret during the war, it has only been through the doctoral research of Alice White, and the meticulous cataloguing of the Tavistock Institute Archives by Elena Carter, that a wealth of information about the creation and development of the WOSBs testing programme has been uncovered. Co-created with Matt Gieve of the Tavistock Institute, these workshops will no doubt run for more than the initial four sessions planned.
John Siblon, ‘Between Hierarchy and Memory: Commemoration of African and Caribbean Servicemen after the First World War’. Photo: ©IWM
I was invited to speak at a workshop on 15 October at the Imperial War Museum, London, on black people’s involvement in the First World War. I was honoured to be part of a panel where the work of each speaker complemented one another. I was asked to present my findings on research into the commemoration of African and Caribbean servicemen after the war ended. I was also asked to give my thoughts, along with the panellist Anna Maguire, one of IWM’s PhD students, on photos from the IWM’s collection on soldiers from the British West Indies Regiment, the South African Native Labour Corps, and the Nigeria Regiment, and finally a session with questions to the panel.
Dirty Wars: A Century of Counterinsurgency by Simon Innes-Robbins ©IWM
It was with great delight and pleasure that I received copies of my book, Dirty Wars: A Century of Counterinsurgency, which was published by The History Press on 6 October and will be published in North America in February 2017. This is the first book written for IWM by a member of staff to fully explore the origins and continuing importance and relevance of counterinsurgency.
‘Who is the enemy?’ This is the question most asked in modern warfare; gone are the set-piece conventional battles of the past. Once seen as secondary to more traditional conflicts, irregular warfare (as modified and refashioned since the 1990s) now presents a major challenge to the state and the bureaucratic institutions which have ruled the twentieth century, and to the politicians and civil servants who formulate policy.
Over the weekend of 18-20 March an international conference took place in Leeds, focusing on resistance to the First World War. The conference, which I helped to organise, brought together academics, community groups, poets and storytellers from across the globe, including delegates who had travelled from Australia and the USA. The conference was envisaged following the suggestion that the prominent narratives during the First World War Centenary were limited to stories of those who had actively participated in the war effort. Stories of resistance to the war were missing from dominant narratives of remembrance and the conference sought to question what war resistance was, how acts of resistance were undertaken, and the significance of war resistance today. The presence of both academic and community focused research on resistance worked particularly well in addressing the many different facets of resistance; including the theoretical underpinnings of pacifism, international and transnational movements for peace, individual acts of conscious and unconscious resistance as well as national and local networks of resistance.
Since 2009 IWM has been running a project to collect the experiences of British military personnel serving in contemporary conflicts. Until last year, the dominant experience was the war in Afghanistan. But as this conflict began to draw down, British forces were deployed to help with other pressing concerns.
The latest IWM display, the fourth in the Contemporary Conflicts Programme, focuses on two different, concurrent deployments. Operation Gritrock was the British military’s contribution to the Ebola crisis in Sierra Leone. Operation Shader is the British element of the fight against ISIS (Islamic State of Iraq and al-Sham), the Islamic extremist group, in the Middle East.
As with the previous displays, Fighting Extremes utilises material gathered directly from personnel who have served on these operations. The IWM team has conducted interviews and gathered film footage, photographs and other artefacts at locations ranging from Cyprus to Belfast. A selection of this material forms the basis of the new display.
As we look forward to the New Year and begin to plan the various projects which will keep us busy over 2016, it is always useful to take a step back and consider the progress already made. For over forty years, IWM has preserved one of the most important sound archives of its kind in the world. Established in 1972, the Department of Sound Records, as it was then called, was an offspring of the museum’s Library which at that point included a handful of gramophone records. The following decades saw the collection grow in size until, following a major restructuring in 2010, it was merged with the Department of Documents to form the Documents and Sound Section, with myself appointed as the new Section Head.
In a frame from the film THE TRUE GLORY, a British Army Film and Photographic Unit cameraman and photographer, Sgt Mike Lewis, is caught on camera as he films the burial of the dead following the liberation of the concentration camp at Bergen-Belsen. (c) IWM FLM 1232
In the late 1960s and early 1970s, staff at IWM engaged with popular forms of history in order to publicise its collections, exhibitions and research facilities. In particular, the use of film in understanding history was increasingly significant in attracting public audiences, and as a subject for debate in universities.
East German construction workers, supervised by border guards, building the Berlin Wall, 1961. © IWM HU 73012.
The official history of the Cold War holds that the military and political divide between Eastern and Western blocs was cemented in the immediate aftermath of the Second World War as allied relationships cooled.
During the Second World War the German Army established a number of POW facilities in the artillery forts in the old Hanseatic city of Thorn (Toruń ) in northern Poland. The camp bore number Stammlager (Stalag) XXA and held Allied prisoners of various nationalities.
Bridge linking courtyard and entrance gate to Fort XI of Stalag XXA. © IWM DC 552.