the First World War by selling pictures to passing Allied soldiers. If Louis and Antoinette were alive today they would no doubt be chuffed and probably very surprised to see just how much passion their portraits of thousands of young soldiers from a war so long ago has aroused.
PLATE 37 An equally sad-looking soldier – no regimental badge.
In late 2011 the precious glass plates did finally ‘come home’, in a gigantic packing case, purpose-built to carry them, along with the Thuilliers’ canvas backdrop. After months of planning, cataloguing, careful cleaning and scanning, the Australian digger plates were gifted to the Australian War Memorial for permanent display. Many of the more intriguing images and the stories behind them formed the basis of a nationwide touring photographic exhibition organized by the AWM. The remaining thousands of British and other Allied soldier plates have been preserved by the Kerry Stokes Collection in a secure repository in Perth, Australia.
More than once in our research it has struck us how impermanent many of the records that we rely on today are in comparison with the handwritten files, letters, printed photographs and glass photographic plate negatives that have made this such a rich collection. As we began examining the plates, drawing on the expertise of people like Peter Burness, it was a revelation to discover how, in many ways, the photographic plates used by the Thuilliers are actually a superior storage medium to the standard celluloid photographic negative, let alone digital imaging. Not only have they already lasted nearly a century, but so much information is packed into these enormous negative plates that it was often possible for us to zoom in on a colour patch, medal ribbon or cap badge to help identify a soldier. There is something terribly poignant about being able to zoom in to the pained and weary eyes of an individual soldier – actually to see the mud on his boots and the texture of his uniform.
As we applied modern photo-processing software, it was astonishing to see faces emerge from the murk of so many plates – images that could so easily have been lost forever. We have asked ourselves many times how much of today’s history will survive to the same extent. How many personal handwritten letters have we preserved today that will record the thoughts and experiences of our loved ones for future generations to read? What was once recorded in a letter just a few decades ago is now just an electronic impulse stored on magnetic media whose lifespan can still currently only be surmised. Will the digital records of today – the photographs, emails and the writings on other online ephemera such as Facebook, Twitter and websites – allow people in a hundred years to explore the history of our present era with as many resources as remain from the First World War? How much of our heritage and experiences will be lost as contemporary storage media slowly fade or are carelessly deleted?
The process of identifying, at least by regiment, as many of the Thuillier images as possible for this book has been a painstaking and often frustrating process. Many of the soldiers were photographed in front of the distinctive painted canvas backdrop and that has been a useful fingerprint in identifying Thuillier pictures which made their way back home into family collections or regimental history books. On rare occasions the identification was easy because a particular soldier features and is actually named in one of the rare Thuillier images reproduced in regimental history books or contained in personal collections. There have been other occasions where photographs taken of soldiers after the war have allowed us to ‘match’ them with a soldier in a Thuillier image (see the Royal Fusiliers). Once identified, it has also been difficult to find out more about a particular soldier because so many of the British service files are incomplete or were destroyed completely in German bombing raids during the Second World War.
PLATE 38 An unidentified soldier. No clues as to his regiment can be seen in the photograph.
One of the key clues that helped us track the Thuillier collection was the distinctive backdrop that appears behind soldiers and civilians in many of the pictures. Well before the discovery of the Thuillier portraits, historians at the Australian War Memorial had noticed the length of painted canvas in a handful of images of different soldiers held in its collection, and they were excited by what it implied. If a photographer had taken the trouble to paint a backdrop for posed photographs somewhere behind the front line, maybe there were more to be found than the dozen or so that had made their way into official collections.
PLATE 39 An excellent Thuillier image showing how the backdrop was used – the soldier is probably from the 6th (Inniskilling) Dragoons.
Never did we think it possible that the backdrop used by Louis and Antoinette Thuillier could have survived nearly a century in a dusty attic. But, as we fumbled around in the eaves of the family attic in Vignacourt back in early 2011, we found, wedged between two roof beams, a tight roll of canvas mounted on a wooden pole. Eager to see what was inside, but anxious not to damage it, we lugged the dusty canvas roll down the three flights of stairs to the courtyard … and gently unrolled it.
PLATE 40 Unfurling the backdrop. (Courtesy Brendan Harvey)
It is a little damaged from its near-century in a draughty attic, but the distinctive double archway seen in many of the photographs is still clearly visible.
PLATE 43 Close-up of the backdrop. (Courtesy Brendan Harvey)
There are hundreds of photographs in the Thuillier collection which clearly predate the painted canvas backdrop – many of them are probably pre-war images of French civilians and then, when war broke out in 1914, they feature the French soldiers who used the town as a staging post before they headed up to the front lines. As business picked up, Louis and Antoinette must have decided that a painted canvas backdrop offered a more professional look for their clients and so the first images using the backdrop began to appear.
PLATE 41 An early Thuillier photograph of a French second lieutenant, of the 4th Colonial Infantry Regiment, and his wife, without the distinctive backdrop. Likely to have been taken sometime in July 1915 when the French 1st Colonial Corps was billeted in Vignacourt.
PLATE 42 A French soldier and his family in front of the distinctive Thuillier canvas backdrop.
PLATE 44 A soldier poses in front of the Thuillier backdrop, using a chair as a prop. The distinctive high table used in many other photographs can be seen just to the left. This soldier has two good-conduct chevrons on his lower left sleeve, indicating that he has six years with a clean record of service on his army record.
PLATE 45 A soldier from the Royal Engineers. His armbands show he is a qualified signaller. Possibly taken when the engineers were in and around Vignacourt in early 1916 preparing transport links and hospitals for the Somme offensive.
PLATE 46 Soldiers of the Royal Artillery Regiment, two with good-conduct chevrons. Clearly Thuillier moved his backdrop according to the state of the weather. The soldier in