© Horace Nicholls Estate. Reproduced with kind permission of the Horace Nicholls Estate.
Guest post by Colin Harding
As the first official photographer on the Home Front, Horace Nicholls documented the impact of total war on the British people during the First World War. After the war, Nicholls photographed the unveiling of the Cenotaph and the burial of the Unknown Warrior in Westminster Abbey. However, underlying these records of national mourning and collective remembrance there is also a story of personal loss. One hundred years ago, on 9 April, Easter Monday, 1917, Nicholls’ eldest son, George, was killed on the opening day of the Battle of Arras. He was just 22.
In 1914, George had been amongst the first to enlist, joining the Honourable Artillery Company as a private. By early 1917, he was serving as a second lieutenant with the 15th (Warwick) Brigade, Royal Horse Artillery. On 5 April he wrote home:
“Great news! I am going up to the guns tomorrow morning early. I feel so relieved, as life at wagon line is very tedious and uninteresting.”
Three days later, he wrote again:
“I am now with the Battery…I have no news for you except that I am well and very cheerful. My love to everyone. George.”
George was killed the next day.
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.
A History of Stone, Origin and Myth (2016), Tom Flanagan and Megs Morley, Photo courtesy of Tom Flanagan and Megs Morley
‘I grew up with that border and I wouldn’t want it back again…’ intones the septuagenarian taxi driver taking me from Shannon Airport to Limerick. He is speaking of the boundary separating British-governed Ulster in the north from the Republic of Ireland, which since 1998 under the terms of the Good Friday Agreement, abolished border controls, symbolically softening an 800 year-long conflict. Now, in the aftermath of June’s referendum, the border’s return seems inevitable: a clear indicator of the disruption to the Irish peace process resulting from Brexit.
I am visiting EVA Interantional, Ireland’s biennale of contemporary art, coinciding this year with the centenary of 1916 Easter Rising, a calamitous event, which definitively swung popular opinion against the British Administration leading to the War of Independence and the constitutional division of the country.
The Official War Artist, John Keane, using a video camera to film British self-propelled artillery in training prior to the Ground Assault. © Ken Lennox/Mirrorpix (IWM GLF 1321).
A little known piece of the museum’s history is that the art collection was the principal reason cited in the House of Lords to acquire the Bethlem Hospital building in Lambeth, which is now the IWM London site.
A photograph showing Roma in Radom, Poland – torn from a German soldier’s photograph album. IWM HU 105681
Here in the Department of Research, one of my responsibilities is to oversee the development of new content for The Holocaust Exhibition. My next is to display a collection of recently acquired photographs of Roma and Sinti (‘Gypsies’).
A photograph showing Roma in Radom, Poland – torn from a German soldier’s photograph album. IWM HU 105682
Roma and Sinti were targeted by the Nazis in their discriminatory laws and policies from 1933. They were later subject to slave labour, internment and mass murder (including at extermination camps such as Auschwitz-Birkenau). 25%, or up to 220,000 of Europe’s Roma were killed by the Nazis.