The Quiet Charm of "The Cottage by the Sea"

 Every postcard in a collection tells two stories: the one captured in the ink on the front, and the one hidden in the history on the back. This particular piece, titled "The Cottage by the Sea," is a beautiful example of mid-century Irish nostalgia, pulling us back to a time of rugged coastlines, lime-washed stone, and the slow pace of Atlantic life.

The Scene: A Glimpse into Coastal Life

The front of the card features a vibrant illustration by an artist signed simply as L. Murdoch. The painting depicts a traditional Irish "long cottage" with a heavy, possibly slate or bitumen-coated roof, nestled against a rocky outcrop. The white-washed walls pop against the muted greens and ochres of the surrounding scrubland.

In the background, the deep blue of the sea meets a pale, hazy sky. If you look closely at the path leading toward the water, you can spot two small figures—perhaps children or a couple—adding a sense of scale and life to the otherwise solitary landscape. The artwork captures that specific "soft" Irish light, where the sun feels filtered through a layer of salt spray and Atlantic mist.

Behind the Card: Scholastic Production Co.

Turning the card over reveals its pedigree. It was published by the Scholastic Production Co., Ltd., Belfast, a firm that has become a bit of a cult favourite among postcard collectors (deltiologists).

Based in Belfast, Northern Ireland, the Scholastic Production Company was active from the late 1930s until it was eventually wound up in December 1955. They were known for their "Art Series" postcards, which often featured the work of prominent Irish landscape artists like Maurice Canning Wilks and, of course, the artist of this piece, Lilian Murdoch.

One of the "dead giveaways" for a Scholastic card is the distinctive deckle edge—that wavy, rippled border that gives the card a tactile, vintage feel. This card also bears the "ACME" logo at the top centre, featuring a stylized bird (likely a swift or swallow) carrying a letter, a mark of quality and "British Manufacture" that the company used to distinguish itself from international competitors.

Dating the Postcard

While the card is unposted and lacks a postmark, we can narrow down a likely date of publication:

• Publisher Window: The company operated between ~1938 and 1955.

• The Serial Number: This card is numbered No. 9052. Scholastic’s numbering systems were often "shambolic," as some historians put it, but the 9000-series is generally associated with their later output.

• Artistic Context: Lilian Murdoch was actively supplying artwork to Scholastic during the late 1940s and early 1950s.

Given the crispness of the "ACME" logo and the high serial number, it is very likely this card was printed between 1948 and 1953.

A Collector's Note

What makes this card special is its "new-old stock" condition. It never fulfilled its destiny of carrying a "Wish you were here" message through the mail. Instead, it remains a pristine window into the mid-century Irish art scene. For those who love the North Antrim coast or the wild fringes of Donegal, this card isn't just paper—it’s an invitation to a quieter era.

A Window into the Past: The "Photo-Brown" Charm of Nefyn

 There is a specific kind of magic found in the tactile nature of vintage ephemera. As a collector, few things are as satisfying as unfolding a Valentine’s Letter Card. These weren't just postcards; they were miniature, foldable galleries of a traveller’s journey. Today, we’re looking at a beautiful "British Production" from my collection: a 6 View Letter Card of Nevin (now more commonly spelled in the Welsh, Nefyn), nestled on the stunning Llŷn Peninsula in North Wales.

Produced in a rich, sepia-toned "Photo-Brown," this set captures a moment when Nefyn was asserting itself as a premier destination for those seeking rugged beauty, sea air, and the burgeoning social prestige of the golf links.

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The Aesthetic of "Photo-Brown"

Before we dive into the locations, let’s talk about the medium. The "Photo-Brown" process used here was a popular choice for Valentine & Sons, the famous Dundee-based printing giant. By using a monochromatic sepia palette rather than full colour or standard black-and-white, the publisher achieved a sense of warmth and "heritage" even when the photos were contemporary.

The letter card itself is an ingenious design. For the price of a halfpenny stamp (if left unsealed), a visitor could send six distinct views and a short message home. If they had more to say—perhaps about a particularly challenging bunker on the golf course—they could seal it up for a penny-halfpenny.

Exploring the Six Views

The images selected for this card provide a comprehensive "tourist's eye view" of Nefyn and its sister village, Morfa Nefyn.

1. The Two Bays, Nevin: This sweeping aerial-style shot shows the unique geography of the area, where the town sits perched between the Great and Little Bays. You can see the dense clusters of stone houses and the organized strips of farmland stretching toward the sea.

2. Golf Links, Nevin: Perched on the dramatic headland of Porthdinllaen, this course is world-famous today. Here, we see it in its earlier years. The figures on the green, dressed in what appears to be traditional early 20th-century sporting attire, emphasize the area’s transition from a fishing hub to a leisure destination.

1. Nevin Bay & Rivals: This view looks eastward toward the dominant peaks of Yr Eifl (The Rivals). The jagged silhouettes of these mountains provide a dramatic backdrop to the soft curve of the coastline.

2. Nevin Beach: A classic seaside study. The tide is out, revealing a vast expanse of sand dotted with holidaymakers. You can just make out the small bathing huts or structures at the foot of the cliffs, a staple of the British seaside experience.

1. Nevin From Across the Bay: This view highlights the verticality of the village. The houses of Morfa Nefyn seem to cling to the cliffside, with winding paths leading down to the water's edge.

2. Cliff Walk, Morfa Nevin: My personal favourite. It captures the rugged, overgrown path toward Porthdinllaen. It invites the viewer to imagine the wind whipping off the Irish Sea and the scent of gorse in the air.

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Dating the Collection: A Philatelic Clue

One of the most frequent questions I get is: "How do you know when it was made?" Without a postmark, we have to become detectives.

The most significant clue lies on the back of the envelope: "Postage 1½d.—If stuck down and used as letter."

In the United Kingdom, the inland letter rate rose from 1d to 1½d in June 1920. It remained at this price until 1922, briefly dropped, and then fluctuated throughout the interwar period. However, the specific combination of the "Photo-Brown" branding and the typography suggests a publishing date in the mid-to-late 1920s. The serial numbers on the images (ranging from 84000 to 210000) also align with Valentine & Sons’ cataloguing system from the post-WWI era.

There is a settled, peaceful quality to these images that captures the "Long Garden Party" atmosphere of the 1920s, before the Great Depression and the subsequent modernization of the 1930s changed the face of domestic tourism.

Why Nefyn Still Matters

Looking at these images today, what is most striking is how much has not changed. While the cars on the roads are different and the "bathing machines" are gone, the silhouette of The Rivals remains unchanged. The Ty Coch Inn (likely visible as a small speck in the Porthdinllaen views) still serves pints to weary walkers.

This letter card is more than just cardstock and ink; it’s a time capsule of Welsh coastal life. It represents a period when the Llŷn Peninsula was a hidden gem, accessible by rattling trains and early motorcars, offering a "Photo-Brown" escape from the industrial smoke of the cities.

Moonlight Over the Cobbles: A Rare Glimpse into Historic Clovelly

 There is a specific kind of magic found in the tactile nature of a vintage postcard. For years, I have carefully curated a collection of these "snapshots in time," but few capture the atmospheric soul of a place quite like this sepia-toned gem of High Street, Clovelly.

This isn't just a piece of cardstock; it is a portal to the Devon coast as it existed over a century ago. Captured by the renowned artist Elmer Keene and published as part of the "Chic" Series by Charles Worcester & Co. of Bristol, this postcard is a masterclass in Edwardian-era romanticism.

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High Street, Clovelly, Devon  Elmer Keene

The Artistry of Elmer Keene

When you look at the front of this postcard, you aren’t looking at a simple photograph. Elmer Keene (1853–1929) was a prolific artist famous for his "moonlight" scenes. He had a unique talent for taking a landscape and infusing it with drama through the use of light and shadow.

In this depiction of Clovelly’s famous High Street, Keene uses a full, hazy moon to illuminate the steep, pebbled path. The light reflects off the wet stones—perhaps after a coastal evening mist—creating a leaden glow that guides the eye up the hill. The inclusion of figures and donkeys adds a layer of "living history." In the early 20th century, donkeys were the primary "engines" of Clovelly, used to haul goods, luggage, and even tourists up the 400-foot climb from the harbour. Seeing them pictured here reminds us of the village's legendary refusal to submit to the motorized age.

A Walk Up the High Street

The composition of the card is striking. On the left, we see the recognizable facade of the New Inn, its sign hanging proudly over the narrow street. The New Inn remains a landmark in Clovelly today, and seeing it here—rendered in Keene’s signature sepia style—bridges the gap between the modern traveller and the Victorian wanderer.

The steepness of the street is palpable. Clovelly is famous for its "Up-a-long" and "Down-a-long" geography. As you look at the figures trudging upward, you can almost hear the rhythmic click of donkey hooves against the "cobbles" (which are actually smooth boulders gathered from the beach below).

The Reverse: A Collector’s Story

Turning the postcard over reveals the clean, unused "Back" of the card. For a collector, an unposted card is a bit of a double-edged sword. While we lose the historical context of a handwritten message or a dated postmark, we gain a pristine look at the typography and branding of the era.

The "Chic" Series logo and the attribution to Charles Worcester & Co., Bristol, help us date the piece. Worcester & Co. were prominent printers in the late 19th and early 20th centuries. The "divided back" (with separate sections for correspondence and address) tells us this card was likely printed after 1902, when the British Post Office first allowed messages to be written on the same side as the address. Before then, the back was for the address only, forcing people to scrawl their notes across the front of the image!

Why Clovelly Endures

Clovelly is a private village, a fact that has largely preserved its timeless quality. Because it is still owned by a single estate, the village has avoided the neon signs and architectural sprawl that have affected other seaside towns.

When I hold this postcard in my hand, I am struck by how little has changed. If you stood in this exact spot on High Street tonight, the silhouette of the New Inn and the steep incline toward the horizon would look remarkably similar to Elmer Keene’s vision.

Collecting these cards is about more than just owning paper; it’s about preserving the "mood" of history. This postcard doesn't just show us what Clovelly looked like; it shows us how Clovelly felt—mysterious, hardworking, and deeply beautiful.

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Collectors’ Tips: Identifying Elmer Keene Postcards

If you are looking to add Keene’s work to your own collection, keep an eye out for these hallmarks:

1. The Signature: Almost all his works feature "ELMER KEENE" in the bottom corner in block capitals.

2. The Lighting: Look for the "Nocturne" style—high-contrast moonlight and reflections on water or wet streets.

3. The Subject Matter: He frequently painted British coastal scenes, particularly in Devon, Cornwall, and Yorkshire.

Final Thoughts

This piece remains a highlight of my collection. It serves as a reminder that even in our fast-paced, digital world, there is immense value in the slow, the steep, and the moonlit.