There is a photograph of Thomas Wardle, with ten of his surviving children, taken around 1879 (Figure 1). The children and their father are gathered in what seems to be the garden of their home in Leek. The photographer has captured a sense of family intimacy in a domestic setting, except that Elizabeth Wardle is conspicuously absent. There are two versions of this photograph. The other features a large swing on which Margaret Elizabeth and Frances, two of the children, are seated. Both images project a distinctly homely atmosphere, reinforced by the various objects that some of the people featured are holding. They epitomise the great appeal of this family's history, which lies in each individual's independence as well as a strong history of collaboration.

If the photographs were taken to mark a special occasion we do not know what that was. Judging by the nonchalant approach taken, it was clearly nothing as grand as a wedding. Everyone is wearing warm everyday clothing and sturdy footwear, and the older sons have their hands in their pockets. The three older girls are all dressed alike, possibly in a form of school uniform, while the four older boys have versions of adult suits. Perhaps it was someone's birthday, or even Christmas, as some children are holding pets and toys. There is a sense of individuality, even of mischief, in the poses adopted by each child, particularly the sons. The decision to wear a hat or not, and at what angle, would seem to be important. Gilbert, the oldest, who must have been about seventeen, has a strong presence. He is seated on the right of the group in one version, holding a satchel, and is entirely aware of being observed. He is facing the camera full-on, while holding a confident, urbane-looking pose. The rakish angle of his bowler hat – which is even jauntier in the other version, where he is on the left – makes a drama of the experience. Arthur is carrying his bowler in one version, although it is missing from the other.