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More than 32,000 new City of London burials published

We have just published 32,220 new City of London Burial Index records on findmypast.co.uk

These records will really benefit you if you’re trying to track down your London ancestors.

Further details of these records are as follows:

John Hanson and Monnica Stevens provided findmypast.co.uk with these records. Find out more about this collection in our knowledge base.

Search these records now for your London ancestors.

40,000 new records for 18th century Gloucestershire

Search for your ancestors in thousands of new parish records for Gloucestershire on findmypast.co.uk

These new records are particularly useful to the family historian looking to take their search back into the 18th century.

Below are further details of these records:

The Gloucestershire Family History Society provided findmypast.co.uk with these records, in association with the Federation of Family History Societies.

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Family photos: composition and studio setting

Welcome to the fourth in our series of blogs about how to understand and interpret your old family photos. In this series, Jayne Shrimpton, internationally recognised dress historian, portrait specialist, photo detective and regular contributor to Family Tree, Your Family History and Family History Monthly magazines, dates and analyses different types of photographs and helps you to add context to your old family pictures.

Jayne Shrimpton

Moving on from looking at photographic formats, photographers and mount styles, we now begin to focus on the visual image which is, after all, the most interesting aspect of any family photograph. Dating and analysing a photographic image means recognising certain pictorial features and placing them within an accurate historical context. Most Victorian and Edwardian photographs, and later professional portraits, were taken in a commercial studio and in this blog we look at how their compositions and studio settings can offer helpful dating clues.

The photographer’s studio

Professional photographs of 19th and early 20th century family members usually portray their subjects not in a real-life environment but in a studio setting carefully contrived by the photographer. Rather like a theatrical stage, these sometimes involved a painted backdrop and contained various ‘props’ which aimed to create a three-dimensional effect and enhance the scene. Drapes, furniture, painted architectural forms and moveable indoor accessories suggested a drawing room interior, while artificial rustic features conveyed the impression of an outdoor location. Additional accessories kept by the studio reinforced the genteel and attractive effect: quality toys such as dolls, spinning tops, drums and tambourines were kept for small children to clutch, while adults often held a book, implying literacy when not everyone could read.

Personal items could certainly be brought along from home for photograph sittings but were usually only included if they carried positive associations and improved the appearance of the picture. The photographer took full control of the client, advising on facial expression and arranging head, body and limbs into a pleasing pose. The photographic conventions that prevailed at any given time – ideas about subject composition and shifting tastes in backdrops, styles of furniture and other props – are the pictorial features that can help with dating the visual image.

Compositions and settings: 1840s-1860s

In 1840s and 1850s photographs – daguerreotypes and ambrotypes – subjects are typically depicted close-up, in long half-length or three-quarter length, often seated at a cloth-covered table (fig.1). Photographs survive in far greater numbers for the 1860s, the decade that saw the rise of the carte de visite, and for most early cdvs a completely different composition and more extensive room setting was used. Single figures are usually posed, doll-like, full-length in a mock drawing-room interior, showing floor, decorative wainscot and generally with a draped curtain to one side: younger people often stand, with elbow or hand resting on a strategically-placed piece of furniture such as a chair or table (fig.2), while elderly sitters, still full-length, are generally seated.

Groups of two or more people always appear full-length (or almost full-length) in such photographs, as the camera had to move back to include everyone in the frame (fig.3). Solid architectural devices – plinths and pedestals, classical columns, urns and staircases – also crop up in studio sets of the 1860s and early 1870s, while a painted backdrop may also be present, commonly a painted window, doorway or arch offering a glimpse of an ‘outdoor’ landscape beyond (fig.3).

Compositions and settings: 1870s and 1880s

The convention for whole-length single figures in a spacious room setting drifted over into the early 1870s and recurred periodically throughout the decade, particularly, it seems, in the case of female subjects, who perhaps wished to show off their complete outfit to best advantage! The main trend during the 1870s and 1880s, however, was for the camera to move in toward the subject again, taking closer half- or three-quarter length views in which the client’s feet and lower legs are absent from the picture. They may be posed either standing or sitting, perhaps at a table; either way, often a chair is present and there is a pronounced tendency for the subject to lean in a relaxed-looking manner with elbow across the chair back (fig.s 4 and 5). Sometimes he or she holds a book or letter (fig.5) or another personal accessory, such as a fashionable fan, to add interest to the image.

Since little of the room is seen in the frame of these close-up photographs, the furniture close to the subject is more prominent and can also help to some extent with dating. Velvet padded chairs with a rolled back, or other substantial seats upholstered in fabric or leather, often ornamented with tassels, fringing or pom poms, for example, were fashionable in the 1870s (fig.4), while by the 1880s use was sometimes made of throws and draped materials (fig.5). In general, 1880s photographs present a more varied array of scenes than previously, studio sets being more evident in group photographs in which smaller figures pose in spacious surroundings. In particular a new vogue for more naturalistic ‘outdoor’ settings developed for which backdrops were painted to emulate rural or wooded locations, while subject(s) posed against rustic fences, gates and pergolas, amongst artificial grass and foliage (fig.6).

Seaside photographers often created marine-inspired studio sets, such as imitation rocks or a boat positioned on the beach, or an entire ‘deck’ of a ship, complete with ropes, mastheads and rigging, in front of a painted seascape. Interior settings also remained fashionable during this decade: painted backdrops often depict rather grandiose, elaborate furniture, in keeping with ornate late-Victorian taste, while specific props first introduced in the early 1880s include the shaggy rug (fig.7) – to be used often from then on (fig.10).

Compositions and settings: 1890s and early 1900s

The indoor and outdoor themes and features of the 1880s continued throughout the 1890s and into the early 1900s, when single subjects were posed either in a three-quarter length or full-length composition. Potted plants often crop up in interior room sets of this period, reflecting new trends in home décor: in fact few indoor scenes of the late Victorian and Edwardian eras are without a genuine fern, palm, aspidistra or floral arrangement in a pot on a plant stand, or in a bowl on the table – props seen especially in female and mixed portraits (fig.9).

Other contemporary features include ornate wicker or cane furniture in the new art nouveau style, perhaps posed incongruously against the familiar baronial painted backdrop (fig.9), or the ‘outdoor’ setting, often displaying weathered-looking masonry. A different, yet very popular composition – first used significantly in the late 1880s, but associated mainly with the 1890s – was the head and shoulders oval vignette (fig.8). There is no mistaking these close-up images in which the central portrait fades away around the edges into a blank background; they occur in many photo collections spanning the late 1880s to early 1900s. Conversely, extended family group photographs also became increasingly popular during the 1890s and early 1900s – scenes that may show many ancestors and several generations crammed together in the studio (fig.10).

Compositions and settings: 1910s – 1940s

As the 1900s advanced and during the early 1910s, painted studio backgrounds were often cloudy and indistinct, vaguely suggesting shrubbery and leafy glades, while in the foreground clients might pose by realistic-looking stone plinths, pedestals and balustrades (fig.11). Studio room sets of the 1910s usually appear plainer than during the Victorian and Edwardian eras, reflecting more modern tastes: typically photographs of this decade show blank-walled or wood-panelled rooms, often featuring painted bookshelves and/or curtained, small-paned windows and simpler furniture including long bench seats and wooden chairs of modern or traditional design (fig.12).

Hazy backdrops continue into the 1920s, with substantial groups of people still being photographed in full length. Remember that by now, amateur photography was becoming increasingly popular and fewer people were visiting the commercial photography studio, although the professional portrait was still considered a superior product. Accordingly, the distinguishing trend with studio photographs of small groups and with single portraits, from the post-WWI period onwards, is for clear head and shoulders shots focusing on the head and upper body, with close attention paid to camera angle and lighting. This vogue continued throughout the 1920s (fig.13), 1930s (fig.14) and 1940s, providing intimate, high quality visual records of our more recent ancestors and relatives.

Fig.1 Ambrotype, 1859 (Twelve year old boy) - click to enlarge. Early photographs of the 1840s and 1850s usually show their subjects in long half-length or three-quarter length, often seated with their arm on a cloth-covered table (www.whatsthatpicture.com)

Fig.2 Carte de visite, early-mid 1860s (Unknown man) - click to enlarge. Cdvs of the 1860s usually portray their subjects full-length, in a contrived drawing-room setting, with a chair and/or table, deep wainscot and draped curtain to one side (Jayne Shrimpton)

Fig.3 Carte de visite c.1864-6 (Wedding photograph) - click to enlarge. This cdv shows a typical 1860s room setting, complete with painted window opening onto an ‘outdoor’ scene. Groups are usually shot in full-length, whatever the date (Jon Easter)

Fig.4 Carte de visite, c.1877-9 (Domestic servant) - click to enlarge. The usual composition of the 1870s was close-up, the subject (seated or standing) often leaning over the back of a padded velvet seat or other kind of upholstered chair (Beryl Venn)

Fig.5 Carte de visite c.1882-4 (Unknown man) - click to enlarge. As in the 1870s, 1880s subjects were often portrayed in long half-length or three-quarter length. Often (though not always) they leaned in a seemingly relaxed mode (Jayne Shrimpton)

Fig.6 Carte de visite, c.1883 (Unknown young women) - click to enlarge. 1880s photographers began to contrive more authentic-looking ‘outdoor’ settings, with painted backdrops. The bark-covered fence seen here was a popular prop (Jayne Shrimpton)

Fig.7 Cabinet print, mid-late 1880s (Unknown family) - click to enlarge. With groups we see more of subjects’ surroundings. Late 19th century indoor settings often feature scenery painted with elaborate furniture and architectural forms. The shaggy rug seen here was a new prop in the 1880s (Fiona Adams)

Fig.8 Carte de visite mid-1890s (Unknown young woman) - click to enlarge. The head and shoulders oval vignette composition, popular between the late 1880s and early 1900s, is especially associated with the 1890s. Many examples similar to the above photograph survive today (Jayne Shrimpton)

Fig.9 Cabinet print, c.1901-4 (Domestic servant) - click to enlarge. Imposing Victorian backdrops may be combined with ornate, art nouveau-style cane or wicker furniture in turn of century photographs. Potted plants were very common, especially for female portraits (Patrick Davison)

Fig.10 Studio photograph of two inter-related families, 1905 - click to enlarge. Large family group photographs were very popular during the 1890s and early 1900s, their arrangement often helping with identification of different branches and several generations of ancestors (Claire Dulanty)

Fig.11 Postcard photograph c.1910-14 (Unknown young woman) - click to enlarge. Late Edwardian and 1910s photographs often feature hazy painted backdrops suggesting leafy glades, their subjects posed against weathered walls and balustrades (Patrick Davison)

Fig.12 Studio group portrait of dock worker and his family - click to enlarge. 1910s indoor room settings typically show plain or wood-panelled walls, often with painted bookcases and curtained windows. Bench seats were a popular furniture style (Patrick Davison)

Fig.13 Passport photograph, mid-late 1920s, USA - click to enlarge. This passport photograph followed official regulations, but represents well the popular head and shoulders portrait of the inter-war era and 1940s (Claire Dulanty)

Fig.14 Studio photograph, mid-1930s (unknown family) - click to enlarge. During the 1920s-1940s, head and shoulders compositions were usual for single and small group studio photographs. Head angle and lighting were especially important (Katharine Williams)

Further reading

Audrey Linkman, The Victorians: Photographic Portraits (Tauris Parke, 1993)

Jayne Shrimpton, How to get the most from Family Pictures (Society of Genealogists, 2011)

Tom Phillips, We Are the People: Postcards from the Collection of Tom Phillips (National Portrait Gallery, 2004)

Look out for the fifth blog in this series, coming soon. View Jayne’s website here

Findmypast Ireland launches

Today sees the launch of findmypast Ireland, a joint venture between findmypast and Eneclann, the award-winning Irish history and heritage company. Findmypast Ireland will host the most extensive collection of Irish land records available anywhere online and will be a valuable resource for those 80 million people worldwide who claim Irish ancestry.

Findmypast Ireland, which is aimed at those of Irish descent including 13 per cent of the US population, carries the most detailed and thorough collection of Irish records ever seen in one place – over 4 million records. These include land records, directories, wills, obituaries, gravestone inscriptions and marriages.

The earliest records date back to the 13th century (wills) and include several important collections from the 18th century (The Elphin Census 1749 and the 1798 Rebellion records). The collection includes the exclusive publication of the Landed Estates Court records, a crucial resource for the mid- to late-19th century, which includes details of over 500,000 tenants on Irish estates.

Take a look at our infographic about the impact of the Irish

Start searching findmypast Ireland today for your Irish ancestors.

The Society of Genealogists' centenary celebrations

This weekend the Society of Genealogists will be 100 years old and findmypast.co.uk is proud to be their centenary sponsor.

The Society has a host of activities planned to celebrate its 100th year. Upcoming events include a Reception and Gala Dinner on Friday 6 May and the Centenary Family History Conference on Saturday 7 May, both of which findmypast.co.uk is looking forward to attending.

You can find out more information about all of the Society’s centenary celebrations on their website

You can search millions of records from the Society on findmypast.co.uk, including the Great Western Railway Shareholders Index 1835-1932 and the Civil Service Evidence of Age 1752-1948

See a full list of the Society’s records you can search on findmypast.co.uk

The Society of Genealogists’ centenary celebrations

This weekend the Society of Genealogists will be 100 years old and findmypast.co.uk is proud to be their centenary sponsor.

The Society has a host of activities planned to celebrate its 100th year. Upcoming events include a Reception and Gala Dinner on Friday 6 May and the Centenary Family History Conference on Saturday 7 May, both of which findmypast.co.uk is looking forward to attending.

You can find out more information about all of the Society’s centenary celebrations on their website

You can search millions of records from the Society on findmypast.co.uk, including the Great Western Railway Shareholders Index 1835-1932 and the Civil Service Evidence of Age 1752-1948

See a full list of the Society’s records you can search on findmypast.co.uk

Survey prizes awarded

We ask you to complete our customer feedback surveys because we really value your input. Your responses to our surveys provide us with precious feedback about how we can improve the service we offer you. As a thank you for taking part in these surveys, we have awarded a year’s Full subscription to the following people:

February 2011 – Lorna Simpson
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April 2011 – Colin Jones

Many thanks to all of you who took the time to complete our surveys. We award our prizes quarterly so the next round of prizes will be awarded in August 2011.

A single search for all our births and marriages

Findmypast.co.uk has always had the most comprehensive England & Wales birth and marriage records – now we’ve added our exclusive additional records to create one simple search.

As well as England & Wales records, you can now search for your British ancestors’ births and marriages in our overseas, military and at sea records, some of which date back to 1761.

You won’t find a search this powerful including all these records anywhere else. It means that you can now find previously elusive births and marriages from a single search.

When you search for a birth record, one search will provide you with results from the following sets of records:

• England & Wales births 1837-2006
• British nationals born overseas 1818-2005
• British nationals born in the army 1761-2005
• British nationals born at sea 1854-1887

Below is an example of how your search results will look:

Note the wide variety of countries and places. Sort your results by country and place by clicking on each column heading.

We’ve given our marriage records the same treatment. Search once for your ancestors’ marriages in the following records:

• England & Wales marriages 1837-2005
• British nationals married overseas 1818-2005
• British nationals married in the army 1796-2005
• British nationals married at sea 1854-1908

We’re very close to completing our project to fully name index our death records. Once this is complete, we will combine all our death records into one search to finish the series.

Try our new search now to see how many ancestors you can find.