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  • The magazine [i]Lilliput[/i], founded by the émigré journalist Stefan Lorant in 1937, gave work to emigrated artists and photographers such as Kurt Hutton, Walter Suschitzky, Walter Trier and Edith Tudor-Hart.
  • Magazine
  • Lilliput
  • Stefan Lorant
  • 1937
  • 1960
  • 43–44 Shoe Lane, Holborn, London EC4.

  • English
  • London (GB)
  • The magazine Lilliput, founded by the émigré journalist Stefan Lorant in 1937, gave work to emigrated artists and photographers such as Kurt Hutton, Walter Suschitzky, Walter Trier and Edith Tudor-Hart.

    Word Count: 29

  • The journalist Stefan Lorant (1901–1997), who was editor-in-chief of the daily newspaper Münchner Illustrierte Presse until 1933 and was imprisoned for political reasons, escaped to London via Budapest and Paris. Shortly after his arrival in 1934, Lorant began planning new image-based magazines, which were not yet as established in the English press landscape as they were in Germany. Lorant was a founding figure of photojournalistic news transmission in England. He conceived Weekly Illustrated (founded 1934), invented Lilliput (founded 1937) and Picture Post (founded 1938). Lorant’s work in London was linked to a revival of his former working relationships with photographers such as Kurt Hutton (né Kurt Hübschmann, 1893–1960), Felix H. Man (né Felix Sigismund Baumann, 1893–1985) and Tim N. Gidal (1909–1996), who had also emigrated to England as well as Fritz Goro with his wife Carola Gregor and Fritz Henle, who emigrated to the U.S. They and other local and émigré photographers such as Bill Brandt (1904–1983), Wolf Suschitzky (1912–2016) and Edith Tudor-Hart (1908–1973) worked for Lilliput.
    A satirical monthly magazine, named for the fictional island in Jonathan Swift’s novel Gulliver’s Travels, Lilliput was published in a small pocket format (19 x 12 cm), with literary contributions by Ernest Hemingway, Ferenc Molnar, Liam O'Flaherty, Upton Sinclair and Alfred Polgar and a visual emphasis on photography and drawing. The covers were instantly recognisable: The artist Walter Trier – who would also become a political artist for the emigrant newspaper Die Zeitung in the 1940s – drew almost 150 covers between 1937 and 1949, revolving around the pictorial motif of a couple with a dog, varying through the seasons with different activities and states of mind, in a kind of “pictorial diary” (Neuner-Warthorst 2006, 234). These cover images ignore daily political business and the war and tyranny taking place on the European continent, and focus instead on the interactions between man, woman and pet. Lilliput was a supremely portable magazine that could be read on the go – on public transport or on a day out. The content had to be entertaining and the visual humour immediately accessible.

    However, Lilliput was not an apolitical magazine. Alfred Polgar's short text “Fate in Five Words”, for example, raised the issue of the fate of refugees as homeless people with no possibility of return: “A long way ... From where?” (Polgar 1939, 411) In the pictorial section of the magazine, too, the foreign policy situation, especially National Socialism, was an ongoing theme, albeit treated in an entertaining manner.
    Lorant’s visual strategy for Lilliput was juxtaposition, which offered him opportunities for political partisanship and agitation. Lilliput worked with pairs of images in which new and often comical lines of connection were established between two photographs. Lorant probably adapted the idea of juxtapositions from the German cultural magazine Der Querschnitt and discovered their potential for the English market (Willimowski 2005, 314). The US pocket magazine Coronet, founded in 1936, gave also a model for the concept of juxtapositions.
    The juxtapositions functioned through formal analogies – a similar posture or facial expression – and a succinct caption that exposed relationships. Lorant was particularly fond of commenting on political developments in Nazi Germany at a time when most media in England were still keeping their distance. Lorant exposed the German political leadership in caricatures and photographs. On one double-page spread he commented on encounters in “Old Germany” and “New Germany”: in Old Germany two elderly ladies meet with hearty laughter, while the other photograph depicts the martial attitude of the new rulers. The uniformed Hitler and his deputy Rudolf Hess greet each other with a rigid Hitler salute, which was regularly mocked in Lilliput. In the juxtaposition, Lorant succeeds in bringing out the brutalisation of mores and the loss of humanity without losing sight of the grotesque appearance of the National Socialist leadership. The Minister of Propaganda encounters a subdued sea lion on a double page spread, Hitler’s angry body language is reflected in that of an enraged gorilla.
    As early as 1938, Stefan Lorant sold the magazine to Edward Hulton, but remained editor-in-chief. When Lorant emigrated to the USA in 1940, the editorship of Lilliput fell to Tom Hopkinson. The magazine continued until 1960, when it was absorbed into the pornographic men's magazine Men Only.

    Word Count: 682

  • Lilliput, vol. 6, no. 2, 1940, cover by Walter Trier (METROMOD Archive).
  • Lilliput, vol. 3, 1938, p. 10: “The Beautiful Llama”, Spohr, Cape Town and p. 11: “Mr. Neville Chamberlain”, photo: “, photo: Wide World, London (Photo: Private Archive).
    Lilliput, vol. 3, 1938, p. 223: “The Ruler of Germany”, photo: Keystone, London and p. 224: “The Terror of the Zoo”, photo: A. P., London (Photo: Private Archive).
    Lilliput, vol. 5, no. 4, 1939, cover by Walter Trier (METROMOD Archive).
    Lilliput, vol. 5, no. 4, 1939, contents for October (METROMOD Archive).
    Lilliput, vol. 5, no. 4, 1939, p. 322: “We shall conquer the world: German Propaganda Minister, Dr. Goebbels”, photo: Schall, Paris and p. 323: “Goodness! I’m all of a-tremble. Sea-lion in the Zoo”, photo: Keystone, London (METROMOD Archive).
    Lilliput, vol. 5, no. 4, 1939, p. 332: drawing by Walter Trier and p. 333: “Sea Spray” by T. Thompson (METROMOD Archive).
    Lilliput, vol. 5, no. 4, 1939, p. 411: “Fate in Five Words” by Alfred Polgar (METROMOD Archive). A short story on the homelessness of émigrés.
    Lilliput, vol. 6, no. 2, 1940, p. 148: “The Beauty of the snow: The painter who tries to capture it”, photo: Dulovits, Budapest and p. 149: “Three Stories” by Ferenc Molnar (METROMOD Archive).
    Lilliput, vol. 4, 1939, p. 426: “Should we have this? A beauty parlour for dogs”, photo: Edith Tudor-Hart, c. 1937 and p. 427: “Must we have this? A London slum”, photo: Edith Tudor-Hart, c. 1936 (© The Estate of Wolfgang Suschitzky).
    Lilliput, vol. 6, 1940, p. 311: “London Snowstorm”, photo: Wolf Suschitzky (© The Estate of Wolfgang Suschitzky).
    Advertisement for Lilliput in the first issue of Picture Post, vol. 1, 1938, p. 2 (Photo: Private Archive). Both magazines were founded by Stefan Lorant.
    Essay on Lilliput in the first issue of Picture Post, vol. 1, 1938, p. 73 (Photo: Private Archive).
    Advertisement for Lilliput in Picture Post, vol. 3, 1939, p. 2: overview on Walter Trier’s covers (Photo: Private Archive).
  • Dogramaci, Burcu. “Der Kreis um Stefan Lorant. Von der Münchner Illustrierten Presse zur Picture Post.” Netzwerke des Exils. Künstlerische Verflechtungen, Austausch und Patronage nach 1933, edited by Burcu Dogramaci and Karin Wimmer, Gebr. Mann Verlag, 2011, pp. 163–183.

    Dogramaci, Burcu, and Helene Roth. “Fotografie als Mittler im Exil: Fotojournalismus bei Picture Post in London und Fototheorie und -praxis an der New School for Social Research in New York.” Vermittler*innen zwischen den Kulturen, edited by Inge Hansen-Schaberg et al., special issue of Zeitschrift für Museum und Bildung, vol. 86–87, 2019, pp. 13–44.

    Hallett, Michael. Stefan Lorant. Godfather of Photojournalism. Scarecrow Press, 2006.

    Hopkinson, Amanda. “Picture Post: ‘Strongly political and anti-Fascist’.” Insiders Outsiders. Refugees from Nazi Europe and their Contribution to British Visual Culture, edited by Monica Bohm-Duchen, Lund Humphries, 2019, pp. 121–127.

    Lilliput, London, 1937–1960.

    Lorant, Stefan. “Introduction.” Idem. Chamberlain and the Beautiful Llama and 101 more juxtapositions. Hulton Press, 1940, pp. 7–13.

    Neuner-Warthorst, Antje. Walter Trier. Politik. Kunst. Reklame, edited by Hans Joachim Neyer, exh. cat. Wilhelm-Busch-Museum, Hannover, 2006.

    Osman, Colin. “Der Einfluß deutscher Fotografen im Exil auf die britische Pressefotografie.” Kunst im Exil in Großbritannien 1933–1945, exh. cat. Neue Gesellschaft für bildende Kunst, Berlin, 1986, pp. 83–87.

    Picture Post, London, 1938–1957.

    Schumann, Klaus. “Der Mann mit den sechs Leben. Die ungewöhnliche Karriere des Stefan Lorant.” Süddeutsche Zeitung, 14/15 December 1985.

    Willimowski, Thomas. Stefan Lorant – Eine Karriere im Exil. wvb, 2005.

    Word Count: 218

  • Burcu Dogramaci
  • London
  • No
  • Burcu Dogramaci. "Lilliput." METROMOD Archive, 2021,, last modified: 12-05-2021.
  • Edith Tudor-Hart

    The Viennese photographer Edith Tudor-Hart emigrated to England in 1933 and made a name with her photographs focusing on questions of class, social exclusion and the lives of marginalised people.

    Word Count: 29

    John Heartfield
    ArtistGraphic DesignerFotomonteur (mounter of photographs)

    After escaping from his first exile in Prague in December 1938, the political artist John Heartfield lived in London since 1950, working for Picture Post and the publisher Lindsay Drummond.

    Word Count: 28

    Wolf Suschitzky

    The Viennese Wolf Suschitzky made a career as a photographer and cinematographer after emigrating to London in 1935.

    Word Count: 17

    We make History

    In 1940, émigré artist Richard Ziegler, using the pseudonym Robert Ziller, published the book We Make History with the Allen & Unwin publishing house in London.

    Word Count: 25

    “The Life of a Station.”

    Photographer Tim N. Gidal’s first reportage for Picture Post magazine after his emigration to London was devoted to Victoria Station, observing travellers and their companions as they depart and arrive.

    Word Count: 31

    Lighting for Photography. Means and Methods
    Photo guideBook

    Lighting for Photography from 1940 by the émigré photographer Walter Nurnberg was one of a number of successful photo guides produced by Andor Kraszna-Krausz’s Focal Press publishing house.

    Word Count: 28

    Tim Gidal
    PhotographerPublisherArt Historian
    New York

    Tim Gidal was a German-Jewish photographer, publisher and art historian emigrating in 1948 emigrated to New York. Besides his teaching career, he worked as a photojournalist and, along with his wife Sonia Gidal, published youth books.

    Word Count: 35

    Fritz Henle
    New York

    Fritz Henle was a German Jewish photographer who emigrated in 1936 to New York, where he worked as a photojournalist for various magazines. He also published several photobooks of his travels throughout North America and Asia.

    Word Count: 35

    Carola Gregor
    New York

    The German émigré photographer Carola Gregor was an animal and child photographer and published some of her work in magazines and books. Today her work and life are almost forgotten.

    Word Count: 30

    Die Zeitung

    From 1941 to 1945, the émigré German-language newspaper Die Zeitung was published in London, reporting on the war on the continent and on the situation in Germany.

    Word Count: 25