Tag Archives: World War 2

Post Offices

Cover of Post Offices by Julian Stray

Cover of Post Offices by Julian Stray

The local post office has a special place in the social history of Britain. A new book, published by Shire Publications and written by the BPMA’s Assistant Curator Julian Stray, provides an historical overview of the development of this public institution – from “letter receiving house” to familiar high-street presence.

Outlining the range of services post offices have provided over time – from stamps, pensions and postal orders, to airmail, savings certificates, dog and TV licences – and highlighting the “heyday of the GPO” during the 1930s, 40s and 50s, Julian Stray recalls childhood memories of post office counters selling stamps and sweets, the weekly pension queue, and the friendly local postmaster.

Also examined are the many different types of post offices, from the village sub-office to mobile post offices in tents used in bombed areas during the Second World War.

The sub-post office at Shipton-under-Wychwood opened before 1847, but relinquished its title as England’s oldest post office when it closed in 1975.

Shipton-under-Wychwood Post Office, Oxfordshire c.1900

Shipton-under-Wychwood Post Office, Oxfordshire c.1900

By the late 1920s, post office frontages were heavy with advertising. Notices relating to overseas mail and telephone services were a common sight.

The branch office at Southampton Row, Bloomsbury, London, c. late 1920s.

The branch office at Southampton Row, Bloomsbury, London, c. late 1920s.

During the Second World War mobile, tented post offices were produced for quick deployment to areas that had lost their office as a result of enemy bombing.

Mobile post office set up in a bombed area of London, 1941

Mobile post office set up in a bombed area of London, 1941

After 1969, when the Post Office became a public corporation and its relationship with the Ministry of Works ended, local architects designed new offices.

Guildford’s North Street post office (1970-72), by architects Roman Halter and Associates, was a radical departure from previous offices; the building incorporated wrap-around glazing and a projecting gazebo.

Guildford’s North Street post office (1970-72), by architects Roman Halter and Associates, was a radical departure from previous offices; the building incorporated wrap-around glazing and a projecting gazebo.

Post Offices by Julian Stray is a celebration of a very British institution now threatened by modern-day forces. It is now available from the BPMA online shop.

Lord Bath, Tony Benn and Bath Postal Museum help to launch London 2010: Festival of Stamps

Lord Bath sends off a carrier pigeon with his message to Mr Tony Benn. Watching are the Mayor and Mayoress of Bath (left) with Audrey Swindells and Ivan Holliday of the Bath Postal Museum.

Lord Bath sends off a carrier pigeon with his message to Mr Tony Benn. Watching are the Mayor and Mayoress of Bath (left) with Audrey Swindells and Ivan Holliday of the Bath Postal Museum. (Photo: Bath Postal Museum)

by Colin Baker, Bath Postal Museum

On 23rd March the Marquess of Bath, a patron of the Bath Postal Museum, despatched a message by carrier pigeon from outside the Guildhall in the centre of Bath to Tony Benn in London. Lord Bath’s message wished the London 2010: Festival of Stamps every success. Tony Benn was the ideal receiver of this message, being the last Minister of Posts and Telecommunications in Britain. The message was written on an original pigeongramme form as used in World War Two, which is very lightweight paper that weighed only one gram.

Lord Bath sends one of the pigeons on its way. The Mayor, Mayoress and some of the Trustees of the Bath Postal Museum follow its progress.

Lord Bath sends one of the pigeons on its way. The Mayor, Mayoress and some of the Trustees of the Bath Postal Museum follow its progress. (Photo: Bath Postal Museum)

It was more than a year ago that the Bath Postal Museum first suggested the idea of using a pigeon to send greetings to the organisers of the Festival of Stamps. The event was organised by the museum to complement their latest exhibition covering some of the major events in the reign of King George V. The exhibition will remain open to the public until the end of 2010.

Watching the release of the pigeons and making sure they were safely in the air were the Mayor and Mayoress of Bath, Councillor and Mrs Colin Barrett, with Trustees, Friends and volunteers of the Bath Postal Museum.

The 1935 Morris Minor postal van sets off from the Guildhall in Bath with its cargo of special event covers.

The 1935 Morris Minor postal van sets off from the Guildhall in Bath with its cargo of special event covers. (Photo: Bath Postal Museum)

The three pigeons had been received by pigeon trainer Trevor Cocks of Bath who with his son handed them to Lord Bath who launched each pigeon into the air. Three pigeons set off ensuring safe arrival. Lord Bath then waved off a 1930s Morris Minor Post Office vehicle owned and driven by Kevin Saville. There are only two of these period vehicles fully roadworthy and it was a privilege for the Bath Postal Museum to be able to use this one to carry some of its special commemorative envelopes.

The vintage Post Office vehicle was followed by a modern Post Office van provided by Royal Mail, Bath section, both vehicles representing early and modern post office vehicles. After the event all present were entertained by the Mayor and Mayoress in the Guildhall and then given a guided tour of the beautiful Mayor’s Parlour.

Tony Benn holding the pigeon that carried the message from Lord Bath. Watching from left to right, Brian Trotter & Alan Huggins (London 2010), Colin Baker (Bath Postal Museum) and Teddy Hendrie the pigeon’s owner.

Tony Benn holding the pigeon that carried the message from Lord Bath. Watching from left to right, Brian Trotter & Alan Huggins (London 2010), Colin Baker (Bath Postal Museum) and Teddy Hendrie the pigeon’s owner. (Photo: Michael Pitt-Payne)

The pigeon carrying the message from Lord Bath flew to its home loft in East London from where the message was taken and presented to Tony Benn by Ted Hendrie of the Royal Pigeon Racing Association. Tony Benn then passed the message to Brian Trotter – Chairman of the International Stamp Exhibition. Alan Huggins – Chairman of the Festival Advisory Board and Colin Baker from the Bath Postal Museum was also present to witness the receipt of the message. Colin Baker said “The way this pigeon message has been sent will show people how communication always played an important role in our society. Although there was no internet in King George V’s reign, the techniques used in his day were often faster than some of the methods we currently employ.”

The pigeongramme that was sent to Tony Benn wishing the London 2010: Festival of Stamps every success.

The pigeongramme that was sent to Tony Benn wishing the London 2010: Festival of Stamps every success. (Photo: Bath Postal Museum)

Tony Benn was particularly interested in the pigeon and the message it carried. He told the story of his grandfather who was the first pilot to parachute a spy behind enemy lines during the First World War. Dropping the spy was easy he said, they simply cut a hole in the floor of the plane which he slid through before opening his parachute. The spy took carrier pigeons with him, which he released over the next few days, with messages concerning enemy activities and other important information.

It may seem strange to us today to use a pigeon to send a message, but homing pigeons were used extensively in the past. During the siege of Paris in 1870 they were flown out of the city by hot air balloons and flew back after a suitable rest period carrying strips of microfilm with messages for the besieged Parisians. During the two world wars pigeons were used to carry messages between the front line and headquarters.

All RAF (Royal Air Force) bombers carried homing pigeons in the Second World War. For example a bird called ‘White Vision’ delivered a message bearing latitude and longitude details so that the RAF crew could be rescued. They were flying a Catalina Flying Boat which ditched over the Hebrides. This bird flew 60 miles in atrocious weather over heavy seas. It was awarded one of the 14 ‘Dickin Medals for Gallantry’ awarded to homing pigeons. In all 32 bravery medals were awarded to pigeons in the 2nd World War.

Two new additions to the website

Henri Cheffer's original design

Henri Cheffer's original design for a proposed Anglo-French stamp issue (1940)

Over the past day we have been uploading material related to stamps from the era of George VI to our website. Ten proposed or issued stamps dating 1937-1951 are documented and large-size scans of the artworks are included. This is part of our ongoing Stamp Artwork Project which aims to make available material related to British stamp issues from the eras of George V, Edward VIII, George VI and Elizabeth II. Find out more and see what’s new on the Stamp Artwork Project page of our website.

Also uploaded today is our latest podcast The Post Office Went to War featuring thematic collector Christine Earle. Christine Earle is a Fellow of the Royal Philatelic Society London and a renowned thematic stamp collector. Her Post Office Went to War collection comprises a wealth of supporting material including GPO notices, ration books and saving stamps. To download or subscribe to our podcast visit: www.postalheritage.org.uk/podcast.

The end of the horse-drawn mail van

Sixty years ago today the last horse-drawn mail van left King Edward Building in London. This photo captures the event.

Peter pulls the last horse-drawn mail van to leave King Edward Building, London.

Peter pulls the last horse-drawn mail van to leave King Edward Building, London.

If it seems strange that horse-drawn vans were still being used by the Post Office in 1949, the remnants of war-damaged London in the background provide a clue.

Petrol rationing was introduced in Britain during the Second World War to ensure that the military and other essential services were given first priority when it came to fuel supplies. Throughout the war, individuals, businesses, and organisations such as the Post Office, had to make efficient use of the limited resources to hand. This ruled out expansion of the Post Office’s growing fleet of small motor vehicles for local deliveries, meaning that horse-drawn vans stayed in service for longer than they might have.

A horse-drawn mail van circa 1935 in our collection. The design of the van enabled letter carriers to step on and off whilst the vehicle was still moving.

A horse-drawn mail van circa 1935 in our collection. The design of the van enabled letter carriers to step on and off whilst the vehicle was still moving.

By 1949 the era of rationing was starting to end, allowing the Post Office to replace all horse-drawn vans in London with their motorised equivalent. Although horse-drawn vans continued for a number of years in rural areas, Peter’s final journey can be said to mark the end of the wide-scale use of horses, the world’s oldest form mail transport, by the Post Office.

The Post Office Went to War

On 29th September Christine Earle a Fellow of the Royal Philatelic Society London will speak at the BPMA about the Post Office during World War 2. This event year marks the 70th Anniversary of the start of the Second World War, and appropriately Christine’s talk will be preceded by a screening of The First Days, a GPO Film Unit film which documents the changes underwent by the population of London during September 1939.

A still from The First Days: nurses volunteer to fill sandbags

A still from The First Days: nurses volunteer to fill sandbags

Christine Earle has been a thematic stamp collector for over twenty years, using stamps and philatelic material to tell a story. More recently she has become interested in ‘Social Philately’, which allows the use of ephemera type material, as well as stamps and covers to be included in the collection. This has led to the ‘Post Office Went to War’ collection, which describes the effect that war had on the General Post Office during 1939-45; using a wide variety of philatelic material supported by associated items of the period including GPO notices, ration books, savings stamps, etc.

Christine has been a member, committee member and chair of many regional philatelic societies. She was Chair of the British Thematic Association until last year and is currently Honorary Secretary to the Council of the Royal Philatelic Society London. She has not only won 5 F.I.P Gold Medals for thematic collecting but is also an accredited judge for Thematic and Social Philately. Since 2003 Christine has been an F.I.P International judge for Thematic Philately. She conducts thematic judging seminars around the country as well as thematic collecting workshops nationwide.

For further information and booking details please see the Events section of our website. The First Days is available on the DVD If War Should Come.

The Battle of Britain stamps controversy

David Gentleman, whose many British stamp designs are currently being exhibited in our Search Room, is no stranger to controversy. In 1965 he wrote to Postmaster General Tony Benn (who had announced a new policy for stamp issues in late 1964 and was seeking suggestions) and requested that the design limitations of having to include the monarch’s head on stamps be addressed. Benn, a republican, was keen to remove the monarch’s head, and saw Gentleman’s design limitations argument as an excellent – and non-political – way to achieve this objective. 

Gentleman, and his wife Rosalind Dease, had already been commissioned to design stamps commemorating the death of Winston Churchill and the 25th Anniversary of the Battle of Britain, and supplied Benn with versions of the designs without the Queen’s head. Ultimately, it was decided that the monarch’s head should remain on British stamps (you can read the full story by downloading the PDF The David Gentleman Album from our website), but this was not the end of the controversy as far as the Battle of Britain stamps were concerned.

More than a month before their release date a number of newspapers published images of the stamps, with several tabloids highlighting two of the eight stamps, which showed German aircraft. The first of the two stamps in question showed the wing-tip of a Messerschmitt fighter overshadowed by the wing-tip of a Spitfire; the other stamp showed a Dornier bomber sinking into the sea while Hawker Hurricanes flew above it. The reason for the focus on these stamps was that the German aircraft pictured featured German military emblems, the Balkenkreuz (cross) on the Messerschmitt and the swastika on the Dornier.

The six 4d Battle of Britain se tenant stamps designed by David Gentleman and Rosalind Dease. The two other stamps in this issue showed anti-aircraft artillery, and an air battle over St Pauls cathedral. They were designed by Andrew Restall, and Gentleman and Dease, respectively.

The six 4d Battle of Britain se tenant stamps designed by David Gentleman and Rosalind Dease. The two other stamps in this issue showed anti-aircraft artillery, and an air battle over St Pauls cathedral. They were designed by Andrew Restall, and Gentleman and Dease, respectively.

The inclusion of these emblems, particularly the swastika, caused great concern, with several Members of Parliament and the House of Lords speaking against the stamps. At the same time, representatives of a number of organisations, and many members of the public wrote letters to The Queen, the Prime Minister and Tony Benn, requesting that the Battle of Britain stamps be withdrawn.

A London Rabbi, writing to Benn on behalf of 775 families of his congregation, wrote “Please don’t allow swastika on our stamps. They are the 20th Century symbol of persecution, oppression, suffering and all that is evil”. The president of the Board of Deputies of British Jews, Mr S. Teff, also expressed his concerns in writing to Benn: “The Board has already received numerous complaints from members of the Jewish community to whom the sight of the swastika in any form is offensive in the extreme.”

A common theme amongst many of the complainants, in particular those who had served in the war, was that issuing a stamp bearing the swastika was an insult to the war dead. Others objected to the swastika appearing alongside the Queen’s head.

Withdrawing the stamps would have been very difficult for the Post Office as the Battle of Britain issue was the first set of stamps to be commissioned since Benn had changed the policy to include stamps commemorating important anniversaries. Indeed, the Battle of Britain stamps had come about partly due to lobbying from the Royal Air Forces Association and a number of Members of Parliament. The issue was also the largest issue of commemorative stamps to date.

Benn and his department took the view that the reason for the objections to the stamps was that the tabloid press articles which had highlighted the stamps featuring German aircraft, had not made clear the purpose of the stamps, and that black and white images of the stamps which appeared in various publications did not effectively convey the subtlety of the designs.

“The purpose of the stamp is to commemorate the victory over Nazism and I am sure that when the stamp is seen in colour it will be quite apparent that the swastika on the tail of the Dornier bomber is both split and half covered by water; the shattered Dornier is sinking in the English Channel and high above four RAF fighters, objective achieved, are flying back to base” wrote one official, in reply to a member of the public.

“In effect, the stamp is meant to be symbolic of the crushing of the Nazis and all that they stood for. We hope you will agree that within the limits of stamp design, it is difficult to do justice to a subject without introducing features of this kind into a series illustrating the Battle of Britain…”

Benn himself said in one letter “I feel that the stamp is a true reflection of that period in our history and…will be seen as a reminder of a great victory over the evil of Nazism. Because of this I do not propose to withdraw it.” He also argued that no objections were raised to the swastika being seen in newsreel footage of German planes, and that the RAF had displayed and flown captured Nazi aircraft on numerous occasions.

Eventually criticism died down, and despite threats to boycott the stamps sales were healthy, although the GPO arranged for adequate stocks of ordinary small size stamps to be available for those who did not wish to purchase the Battle of Britain issue.

Writing in his 2002 book Design, David Gentleman reflected “the tabloids [made] a great furore over the inclusion of a swastika and an iron cross. But without an enemy there would have been no battle and, as the stamps showed the Germans getting the worst of it anyway, the whole manufactured fuss quickly died down.”

The British Postal Museum & Archive holds many files relating to the Battle of Britain stamp issue. Details of these can be found on our online catalogue.

New podcast goes online: The Post Office during the Second World War

by Alison Bean, Website Officer

Peace and Freedom stamp, 1995

Peace and Freedom stamp, 1995

Earlier this year several talks were given at the Churchill Museum & Cabinet War Rooms to tie-in with the exhibition Last Post – Remembering the First World War. These covered various wartime and postal history topics, including talks on the Post Office during the First and Second World Wars. The talk The Post Office during the Second World War, given by Mark Crowley, is now available to download as a podcast.

Mark Crowley is a PhD student conducting research at the BPMA, who has previously written for this blog on The Post Office Home Guard. His talk presented a number of interesting insights into Post Office operations during World War 2.

The bomb damage suffered by Greenwich Post Office in 1945

The bomb damage suffered by Greenwich Post Office in 1945

The Post Office played a vital communications role during the War, providing both postal and telegram deliveries, and telephone services. With many Post Office workers now in the forces, women were employed in large numbers to deliver and sort mail, drive Royal Mail vans and maintain the telephone network. Mark’s talk is peppered with stories of the bravery of some of these workers, who managed to keep telephone exchanges and sorting offices running even as the enemy bombs rained down.

Vital infrastructure such as post offices, sorting offices and telephone exchanges were often targets for enemy bombers, and many suffered bomb damage. Mobile Post Offices, offering telephone and counter services were set up in effected areas.

A Mobile Post Office in a bombed area, 1941

A Mobile Post Office in a bombed area, 1941

Unfortunately, many of the archive images referred to in the talk cannot be included with the podcast due to copyright reasons, but we hope to make some of these available in the future.

The British Postal Museum & Archive Podcast can be downloaded through iTunes or from our website. Last Post – Remembering the First World War is currently on a national tour.

War time postal publicity campaigns

by Vanessa Bell, Archivist (Cataloguing)

The Second World War hit postal and telecommunications services hard. Lack of personnel due to conscription meant that all services were under pressure and the Post Office used the Public Relations Department to carry their twin calls for understanding and assistance to the general public.

One of the Post Office’s main concerns was the delivery of mail to HM Forces overseas. Delivery times for letters sent via Air Mail services were greatly slowed down due to enemy action in the Mediterranean and the Post Office needed to find a speedier alternative; it decided to adopt the Airgraph service.

Sending an Airgraph involved customers writing a letter on a special form which was transported to a central despatching office and photographed onto a film. At the Receiving Office, large prints on bromide paper could be made from the films and despatched by post to the addressees. Although there was a slight delay for processing at each end, the service had the benefit of being faster than normal Air Mail as the films travelled in comparatively small high speed aircraft.

The service proved to be popular and in May 1942 it was extended to include civilian correspondence. The Public Relations Department were called in to help ‘popularise’ the service and as part of their strategy they produced a series of posters encouraging the public to use the service. These included posters by Hans Schleger (A.K.A Zero) (POST 110/2971), Jan Lewitt and George Him (POST 110/2972), and Anthony Frederick Sarg (POST 110/3194).

Send Airgraphs - they save aircraft space, designed by Anthony Frederick Sarg

Send Airgraphs - they save aircraft space, designed by Anthony Frederick Sarg

Austin Cooper also designed posters advertising airgraphs: (POST 110/4151 and POST 110/1184); in addition he produced a poster to advertise the first Christmas Airgraph in 1943 (POST 110/1185).

Send him Greetings on a Christmas Airgraph form, designed by Austin Cooper

Send him Greetings on a Christmas Airgraph form, designed by Austin Cooper

The Airgraph for the following Christmas was advertised in a poster produced by Leonard Beaumont (POST 110/1193). The Christmas Airgraphs proved very popular, with six million incoming and outgoing for the two years that they were available.

Send him Greetings on a Christmas Airgraph form, produced by Leonard Beaumont

Send him Greetings on a Christmas Airgraph form, produced by Leonard Beaumont

Closer to home, the telecommunications service was under pressure to perform and it was forced to drastically reduce the services that were on offer to the public as it simply could not cope with the demand. In the years 1943 and 1944 the Public Relations Department were instrumental in getting the public to reduce their use of the trunk telephone service. They did this in a number of ways, including the use of newspaper advertisements and the production of a short film to be shown in most cinemas.

They also produced a number of posters encouraging the public to ‘write instead’ of using the telephone or telegraph services. These were designed by artists such as Leonard Beaumont (POST 110/1188), Hans Schleger (A.K.A Zero) (POST 110/3200) and Hans Arnold Rothholz (POST 110/1187).

Think Ahead, Write Instead, designed by Hans Schleger (A.K.A Zero)

Think Ahead, Write Instead, designed by Hans Schleger (A.K.A Zero)

Posters produced for these two wartime campaigns were displayed on postal vans as well as inside post offices and they helped to create a situation where the public worked in partnership with the Post Office to ensure that available services were effectively operated.

Some of the other major publicity campaigns coordinated on the Home front during the Second World War by the Public Relations Department were: ‘Post Early in the day’, the annual ‘Post Early for Christmas’ campaign and a campaign beseeching the public to ‘write clearly and correctly’. The latter practice was essential so that inexperienced staff, standing in for those at war, could effectively sort the mail.

Posters played a key part in spreading the word of these campaigns and artists such as Hans Schleger (Zero), Tom Eckersley and Jan Lewitt and George Him helped to get the message across.

The BPMA exhibition Designs on Delivery: GPO posters 1930-1960 will open at the London College of Communications on 7th October 2009. 2b9pdhtfur

John Wornham Penfold and his pillar box

This year marks the death centenary of John Wornham Penfold, designer of probably Britain’s best loved pillar box. Penfold was born in Haslemere, Surrey on 3rd December 1828. He studied architecture and surveying, and was employed first by Charles Lee, before starting his own business.

J W Penfold

J W Penfold

Penfold rose to the top of his profession serving as President of the Architectural Association and becoming an Associate of the Royal Institute of British Architects. He was also a founder member of the Institute of Surveyors, serving as its first Honourary Secretary (the Institute was later granted a Royal Charter, making it the Royal Institution of Charted Surveyors).

In 1880 Penfold was appointed as a surveyor to the Worshipful Company of Goldsmiths and re-designed the Jewin Street area in the City of London after it had been destroyed by a large fire (this area was again destroyed by bombs during World War 2 and is now the site of the Golden Lane Estate).

One of Penfold’s finest works was at the former Naval Training School in New Cross, South London. In 1890 the site was taken over by the Goldsmiths Company and was converted into a technical and recreational institute. Penfold modified the building to suit its new propose and enclosed the central courtyard to create a Great Hall. This site is now part of Goldsmiths, University of London.

Throughout his life Penfold regularly returned to his native Haslemere. He surveyed the local area when the railways came, rebuilt and expanded Haslemere parish church and surrounds, and designed other local buildings. But Penfold is best remembered for his work for the Post Office.

In 1866 Penfold submitted designs for a pillar box. The Post Office had been attempting to standardise letter boxes throughout the country for some time, and had produced a national standard, but this was found to be wanting. With Penfold’s box the Post Office again attempted to establish an enduring national standard.

A replica Penfold pillar box in the collection of the BPMA

A replica Penfold pillar box in the collection of the BPMA

Penfold’s box – or the Penfold, as it became known – combined simple design with functionality. Hexagonal in shape, it was adorned with acanthus leaves and balls, a far less ornate design than some of the elaborately decorative boxes which had come before it. But the cost of producing Penfolds was high, and a cheaper and plainer standard box was introduced 13 years later.

However, many of the features initiated with the Penfold boxes remain in use. Penfolds were produced in different size to accommodate different volumes of mail, as pillar boxes still are to this day, and Penfolds were also the first boxes to be manufactured in the new standard colour of red, in 1874.

Such is the popularity of Penfolds that the BPMA and Royal Mail frequently receive correspondence from members of the public who wish to see damaged boxes in their area repaired, rather than replaced with a new box. Some original Penfolds are considered so significant that they are listed, giving them special protection under the law.

Replica Penfolds, bearing the cipher of Queen Victoria, have also been produced. The first replica was produced in 1988 and was placed in the heritage era of Windsor. Another, installed in about 1990, is sited outside Penfold’s former home in Haslemere. Penfolds are the only letter boxes which Royal Mail has produced replicas of in this way.

J W Penfold also gave his name to the sidekick of 1980s cartoon character Danger Mouse. Danger Mouse and Penfold even lived in a pillar box on Baker Street, London, although their home was an ‘Anonymous’ Pillar Box, rather than a Penfold.

The BPMA holds four examples of Penfolds, three originals (two red, one green) and a replica. These can be inspected on our Museum Store Open Days.

J W Penfold died on 5th July 1909 and is buried in the grounds of St Bartholomew’s Church, Haslemere, which he designed. He remains the only British pillar box designer to have his box named after him.

If War Should Come

Today sees the release of If War Should Come, the third and final deluxe double-disc box set of films from the GPO Unit.

Created in 1933 out of the ashes of the Empire Marketing Board Film Unit, the GPO Film Unit was one of the most remarkable creative institutions that Britain has produced. A hotbed of creative energy and talent, it provided a spring board to many of the best-known and critically acclaimed figures in the British Documentary Movement, including John Grierson, Alberto Cavalcanti, Basil Wright and Harry Watt, alongside innovators and experimentalists such as Len Lye and Norman McLaren. Their work embraced public information films, drama-documentary, social reportage, animation, advertising and many points in between.  

The British Postal Museum & Archive, in partnership with The BFI National Archive, Royal Mail and BT Heritage, has curated and preserved the legendary output of short films produced by the GPO Film Unit.

This final volume of three sets covers 1939-1941, the last years of the GPO Film Unit before it evolved into the Crown Film Unit. This period saw it at its most technically sophisticated, with directors such as Humphrey Jennings, Harry Watt and Alberto Cavalcanti leading the way in the use of documentary cinema in support of the war effort. Among the films in this collection are Jennings’ poetic masterpiece Spare Time and the rousing classics Christmas Under Fire and London Can Take It!

The discs are presented in a deluxe box with a 68-page bound book containing introductory essays, film notes and selected biographies.

Disc one:
The City (Ralph Elton, 1939)
The Islanders (Maurice Harvey, 1939)
Spare Time (Humphrey Jennings, 1939)
A Midsummer Day’s Work (Alberto Cavalcanti (uncredited), 1939)
If War Should Come (uncredited, 1939)
The First Days (Harry Watt, Humphrey Jennings, Pat Jackson, 1939)
SS Ionian (Humphrey Jennings, 1939)
War Library Items 1, 2, and 3 (uncredited, 1940)

Disc two:
Squadron 992 (Harry Watt, 1940)
La Cause Commune (Alberto Cavalcanti, uncredited, 1940)
French Communiqué (Alberto Cavalcanti, 1940)
The Front Line (Harry Watt (uncredited), 1940)
Men of the Lightship (David MacDonald, 1940)
London Can Take It! (Harry Watt, Humphrey Jennings (both uncredited), 1940)
Spring Offensive (Humphrey Jennings, 1940)
The Story of an Air Communiqué (Ralph Eton, uncredited, 1940)
War and Order (Charles Hasse, 1940)
Christmas Under Fire (Harry Watt, 1941)

Special features:

  • Britain Can Take It! (1940) Slightly shorter version of London Can Take It! which was made for British audiences
  • Interview with director Pat Jackson (2007)

Format:
PAL Region 2 DVD, designed to be played on Region 2 encoded DVD players.

If War Should Come is available now from the BPMA Shop. More information on the GPO Film Unit can be found on our website.