146:, Ireland. He was the third child and only son of the keen amateur photographer Edward Hardman by his marriage to Gertrude Davies. Hardman described his family as Anglo-Irish, and his father as "a land agent for various estate owners and landlords in County Dublin". He also claimed that there family connections with the
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In 1930, not long after
Hardman and Margaret discussed starting a portrait business together, Margaret wrote that she had fallen in love with 'Tony'. Hardman's response was that she was too young and "that kind of love doesn't last". Hardman confessed to a friend that he had ".. been a fool. I should
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She was about nineteen - the doctor's daughter and the beauty of the district.... She had a half-plate stand camera with several lenses, and used to print her negatives by the Carbon process.... She taught me the rudiments of choosing and composing a subject, and I think you could date the beginning
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in
Liverpool's fashionable commercial centre. Burrell was in most respects what one source describes as "a silent partner", but he brought to the partnership his excellent contacts in the Liverpool business community. Starting the business was difficult, and Hardman resorted to selling and repairing
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On 10 August 1932, Hardman married
Margaret, he aged 33 and she 23, and they rented a flat at 59 Hope Street, Liverpool. The marriage was a close one but childless. They worked long hours at the studio, but still found time for weekend expeditions, strapping camera equipment onto their bicycles and
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It was also in 1923 that
Hardman joined Liverpool's "Sandon Studios Society", an "artists' club": members included many of the city's practicing architects, painters, sculptors and musicians. In 1926, he visited southern France in company with fellow Sandon members, one of them being the architect
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this frail old man came down the stairs, there were four or five people from social services tidying up; they had gowns on and were filling bin bags with rubbish. I started looking in the bags and saw photographs and negatives and magazines; I was instantly aware that a historical record was being
412:. He also continued with some landscape photography, but employed only part-time staff as the fashion for formal photography was in decline. The contents of his house suffered increasing neglect, along with several pipe-bursts, causing chaos in many rooms in the property.
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in films, but
Hardman took care not to get involved. His business thrived during the war because of the number of servicemen wanting a family picture to take with them when posted abroad, or a picture of themselves to leave with their family. In 1941 the Hardmans moved to
423:. Early in 1969 Margaret Hardman died of cancer. Hardman not only lost his wife, but his business partner, photographic companion and a very skilful darkroom printer. Following her death, Hardman himself declined, so much so that he came to the attention of Liverpool's
513:
In late 2019, the
National Trust appointed an archivist and a digitisation conservator to conserve their collection of his prints, negatives and letters, at the Liverpool Records Office. The negatives had been found in 2003 to be "actively deteriorating"
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In 1926, Hardman appointed seventeen-year-old
Margaret Mills as his assistant. At first, she would look after the studio in Hardman's absence when he was in the South of France that year. In 1929, Margaret left the studio to train as a photographer in
466:
Hardman accepted
Hagerty's suggestion that he should set up a trust, subsequently deciding to bequeath the bulk of his estate. Exhibitions and articles of Hardman's work continued to be presented throughout the 1980s and he was made an
277:
The 1930s was a prolific period for
Hardman's landscape photography. He recalled later, "Most of my childish dreams were of landscapes; usually of some remote and spectacularly sired lake, which I could never find again."
249:. These visits enabled him to build his portfolio of landscape photographs, most notably with his evocative "A Memory of Avignon" and "Martigues". Portfolios of his work were a regular feature in Dublin's
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Orla
Fitzpatrick (2018) Photographic modernism on the margins: William Harding, The Camera and the Irish salons of photography, 1927 to 1939, Irish Studies Review, 26:3, 361-373
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thrown away: he had made no provision for anything. He didn't think about dying. He had money but would not buy a home help. He'd rely on home help and then complain.
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magazine included an article and profile of Hardman, in which he was described as selling negatives from his collection to Liverpool's local history archive.
263:, Scotland. Margaret and Hardman kept in touch through frequent affectionate letters. In the same year Kenneth Burrell left the business entirely to Hardman.
388:. By 1953, however, it seemed that the business was in uncertain times, and there is evidence of Hardman applying for other jobs including, work at the
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During the war years the business flourished, although because of this Hardman's landscape photography suffered as he had no spare time. During the
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In 1930, Hardman was awarded 1st prize in the American Annual of Photography and a gold medal in London for his picture "Martigues" taken whilst in
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In 1965/6, Hardman officially retired, but did continue to work by taking portraits for small commissions and even taking evening classes for the
270:, France in 1926. The prize included a welcome $ 100 cash element. While portraiture was Hardman's livelihood, his real photographic interest was
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191:, England. Hardman and Burrell decided to go into business together and in 1923, Burrell & Hardman took a lease on business premises at 51a
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of the Royal Photographic Society. Throughout the decade exhibitions of Hardman's work continued, while he suffered long stays in hospital.
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A thesis submitted in partial fulfilment of the requirements of Liverpool John Moores University for the degree of Doctor of Philosophy
219:. He received some practical instruction in photography from his father, and, by his own account, also received important lessons from
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died, aged 60. In 1958, Hardman suffered further loss with the death of his own mother: the lease on the Chester studio also ended.
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Hardman was largely self-taught as a landscape photographer, although he was evidently influenced by various contemporaries such as
370:. There they stayed for seven years, until the Bold Street studio lease expired. The Hardmans then moved to larger premises at
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Peter Hagerty (author); Professor Merilyn Smith & Dr. Timothy Ashplant (co-supervisors for this dissertation) (May 1999).
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By 1979, Hardman made few excursions out of his home and found increasing difficulty in walking and suffering a fall. When
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have married her long ago but I had no money". He did not give up, however, sending a message of his love for Margaret, by
212:, London, whose archive, of primarily architectural images, is being digitised under the wider Courtauld Connects project.
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In 1950. Hardman took what was to become "the most reproduced photograph illustrating and era of Liverpool's commerce":
187:(1893-1953), a man who had not planned on an army career but rather hoped to set up a photographic studio back home in
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Online catalogue of Liverpool Record Office, including over 12,000 photographs from the Chambré Hardman Collection
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Hardman took his first photographs aged nine and went on to win many photographic competitions during his time at
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department. He became a recluse and worked less, but did continue to send exhibition prints to the London Salon.
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to subsidise the studio. Eventually it gained a reputation for being the place for anyone with distinction in
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to be photographed by Burrell & Hardman. Photographs attributed to Burrell & Hardman are held in the
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478:, were taken over by the E. Chambré Hardman Trust to conserve his work, which was later transferred to the
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in India where he would eventually be promoted to lieutenant. While on active duty at the foothills of the
125:. He was a landscape photographer by vocation, although his business was largely dependent on portraiture.
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In March 1975, an exhibition of Hardman's work entitled "Fifty Years of Photography" was displayed at the
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918:"Edward Chambré Hardman: National Trust in 'race against time' to save Liverpool photographer's archive"
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Harold Hinchcliffe Davies. Three years later he undertook a second visit to France, this time visiting
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riding out into the countryside to shoot landscapes. In the same year Hardman won a contract with the
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633:"The Continuity of Landscape Representation: The Photography of Edward Chambre Hardman (1898-1988)"
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On 2 April 1988, Hardman died at Sefton General Hospital in Liverpool. His house and studio, at
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The Continuity of Landscape Representation: The Photography of E.Chambré Hardman (1898–1988)
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She was a talented photographer in her own right, and one with sharp business instincts.
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theatre to provide portraits and production shots of actors. These included
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From the age of eighteen, he spent four years as a regular officer in the
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had recorded "140,000 negs. from 1925 handed over to Central Library".
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In 1969, Margaret took the photograph of Chambré Hardman behind his
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No. 3 Special camera and processed rolls of film in his bathroom.
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Liverpool Through the Lens: Photographs by Edward Chambré Hardman
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992:(includes further details of Hardman's landscape photography)
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290:. In May 1931, Margaret broke off her engagement to Tony.
245:, and accompanied by another Sandon member, the architect
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NT Prints: Selection of around 1200 Hardman images to buy
642:. Liverpool John Moores University (LJMU Research Online)
764:"Margaret Hardman: a forgotten Edwardian talent emerges"
950:, 1994, National Museums & Galleries on Merseyside.
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magazine which circulated through Britain and abroad.
865:"Edward Chambré Hardman: Birth of the Ark Royal 1950"
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photographer, later based for most of his career in
325:, as well as a notable portrait of prima ballerina
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1031:People educated at St Columba's College, Dublin
798:. National Trust Prints, Uckfield. 31 May 2012
376:the city's (by now almost completed) cathedral
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37:Edward Chambré Hardman wearing his trademark
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396:. It was in 1953 Kenneth Burrell, by now in
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537:E. Chambré Hardman: Photographs 1921 – 1972
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972:The Hardmans' House, 59 Rodney Street
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228:of my interest in landscape to days.
317:Hardman was elected a fellow of the
329:. Other portrait subjects included
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115:Edward Fitzmaurice Chambré Hardman
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735:"Who made the Conway Library?"
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507:The Birth of the Ark Royal
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134:Provenance and early years
108:Margaret Mills (1909–1969)
708:"Captain Kenneth Burrell"
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247:Fraincis Xavier Velarde
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567:"Lifting the shutters"
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796:"A Memory of Avignon"
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1021:History of Liverpool
443:Liverpool Daily Post
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1041:People from Foxrock
712:The Hardmans' House
516:smelling of vinegar
495:A Memory of Avignon
349:War years and 1950s
296:Liverpool Playhouse
688:on 14 October 2007
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217:Alexander Keighley
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434:. A year later
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71:(1988-04-02)
69:2 April 1988
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692:18 November
404:Later years
339:John Moores
193:Bold Street
181:Khyber Pass
148:British Raj
119:Anglo-Irish
1000:Categories
744:15 October
522:References
421:trilby hat
252:The Camera
202:Merseyside
198:wirelesses
89:Occupation
39:trilby hat
901:20 August
875:20 August
837:20 August
802:20 August
718:20 August
646:20 August
580:20 August
501:The Copse
385:Ark Royal
288:Barcelona
268:Martigues
189:Liverpool
170:Himalayas
123:Liverpool
83:, England
81:Liverpool
656:cite web
364:Barnston
323:Scotland
243:Biarritz
929:3 March
895:FreeBMD
831:FreeBMD
775:3 March
605:1 April
398:Ireland
392:and at
366:on the
343:Chester
286:, from
261:Paisley
140:Foxrock
58:Foxrock
575:London
543:
509:, 1950
503:, 1934
497:, 1923
368:Wirral
144:Dublin
105:Spouse
77:Sefton
897:. ONS
833:. ONS
636:(PDF)
486:Works
394:Kodak
284:cable
931:2021
903:2017
877:2017
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804:2017
777:2021
746:2022
720:2017
694:2012
668:help
648:2017
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541:ISBN
410:Army
310:and
129:Life
66:Died
47:Born
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