E. O. Hoppé was a German-born photographer who moved to London in 1900:
He was the only son of a prominent banker, and was educated in the finest schools of Munich, Paris and Vienna. Upon leaving school he served apprenticeships in German banks for ten years, before accepting a position with the Shanghai Banking Corporation. He never arrived in China. The first leg of his journey took him to England where he met an old school friend. Hoppé married his old school friend's sister, Marion Bliersbach, and stayed in London. While working for the Deutsche Bank, he became increasingly enamored with photography, and, in 1907, jettisoned his commercial career and opened a portrait studio. Within a few years, E.O. Hoppé was the undisputed leader of pictorial portraiture in Europe. To say that someone has a "household name" has become a cliché, yet in Hoppé's case the phrase is apt. Rarely in the history of the medium has a photographer been so famous in his own lifetime among the general public. He was as famous as his sitters. It is difficult to think of a prominent name in the fields of politics, art, literature, and the theatre who did not pose for his camera."
Although Hoppé was one of the most important photographic artists of his era and highly celebrated in his time, in 1954, at the age of 76, he sold his body of photographic work to a commercial London picture archive, the Mansell Collection. In the collection, the work was filed by subject in with millions of other stock pictures and no longer accessible by author. Almost all of Hoppé's photographic work—that which gained him the reputation as Britain's most influential international photographer between 1907 and 1939—was accidentally obscured from photo-historians and from photo-history itself. It remained in the collection for over thirty years after Hoppé's death, and was not fully accessible to the public until the collection closed down and was acquired by new owners in the United States.
In 1994 photographic art curator Graham Howe retrieved Hoppé's photographic work from the picture library and rejoined it with the Hoppé family archive of photographs and biographical documents. This was the first time since 1954 that the complete E.O. Hoppé Collection was gathered together.
Here are some images from the British Industry gallery in the E.O. Hoppé Estate Collection - back in the heroic days when British industry was still a world leader, before it all went into decline post-war and "grim up north" became the photographers' favourite new look.
New High Level Bridge, Northumberland, Newcastle on Tyne, England, 1925
Boiler Shop Worker Seen Through Large Pipe, Vicker’s Armstrong Steel Foundry, England, 1928
Bothal Relief Winder, Ashington Coal Mines, England, 1928
Brunner Mond Chemical Works, Winnington, Cheshire, England, 1928
Man with Crane Hook, Camwell Laird Shipyard, England, 1928
Group on a Street Surrounded by Brick Walls, London, England, 1933
Chimneys of the London Brewery in St. John’s Wood, London, England, 1929
King George V Docks, London, 1934
Manchester, Lancashire, England, 1925
The Canal, Manchester, Lancashire, 1925
Train Yard, Whitehaven, 1928
Cranes, Swan Hunter & Wigham Richardson Shipyard, England, 1928
Silhouettes, Synthetic Ammonia & Nitrate Company, England, 1928
Tower Cranes, Cunard Lines, England, 1934
[Photos © E. O. Hoppé Estate—Curatorial Assistance, Inc.]
There are some odd little mistakes, mind. "Camwell Laird" for "Cammell Laird", for instance. Or here, the mysterious "Lambert Bridge", lost somewhere between Lambeth Bridge and Albert Bridge.
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