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.

Echoes of the Promenade: Uncovering the History of Blackpool’s Princess Parade

 Blackpool’s coastline is one of the most photographed stretches of land in the United Kingdom. From the iconic Tower to the Pleasure Beach, its landmarks are etched into the national consciousness. However, this particular real photograph postcard focuses on a more sombre and architectural side of the town: the area around the North Pier, featuring the Cenotaph and the grand Hotel Metropole.

Dating the Postcard: A Window into the 1920s

To understand this image, we must look at the landmarks present. The most vital clue for dating this card is the Blackpool Cenotaph.

• The Construction: The Cenotaph was commissioned to honour the 1,501 men from Blackpool who fell during the Great War.

• The Unveiling: It was officially unveiled by the Earl of Derby on November 10, 1923.

• Visual Evidence: Because the Cenotaph appears fully completed and weathered in this shot, and the surrounding Princess Parade is fully developed with its distinct railings and tiered walkways, we can confidently place this photograph in the mid-to-late 1920s or very early 1930s.

The lack of mid-century automotive traffic and the specific style of the tramway infrastructure further support a late-1920s origin, a period when Blackpool was booming as the primary holiday destination for the mill workers of Lancashire and Yorkshire.

The Architectural Anchors: Hotel Metropole and the Cenotaph

The image is dominated by two massive structures that represent very different aspects of British life.

1. The Hotel Metropole

On the left of the postcard stands the formidable Hotel Metropole. Originally opened as the Rossall House Hotel in 1776, it was significantly rebuilt and expanded at the turn of the century. It remains one of the few hotels in Blackpool that sits on the seaward side of the tram tracks. In this era, the Metropole was the height of luxury, playing host to the elite who wished to take in the "ozone" of the Irish Sea from their windows.

2. The Cenotaph

Standing tall at nearly 100 feet, the Cenotaph is a Grade II* listed structure made of white Cornish granite. It is an obelisk of immense proportions, designed by the borough's architect, Ernest Prestwich. In this vintage view, its pristine white stone contrasts sharply against the darker, soot-stained brick of the town behind it. It stands as a silent sentinel over the waves, a permanent reminder of sacrifice in a town built for joy.

The Princess Parade: Engineering the Seafront

The "Princess Parade" itself, which stretches across the mid-ground of the photo, was a feat of Edwardian engineering. Named after Princess Louise, who opened it in 1912, this section of the promenade was designed to be "sunken" or tiered. This allowed visitors to walk sheltered from the biting winds of the Irish Sea while still enjoying the view.

In the photograph, you can see the white spray of a wave crashing against the lower sea wall. This illustrates the perennial battle Blackpool has fought with the tides. The promenade wasn't just for show; it was a sophisticated sea defence system that protected the burgeoning town from the seasonal Atlantic gales.

A Masterpiece of "Real Photograph" Postcards

The back of the card bears the inscription "THIS IS A REAL PHOTOGRAPH." In the early 20th century, this was a mark of quality. Unlike cheaper lithographic prints that used dots of colour, "real photo" postcards were actually developed on light-sensitive paper. This resulted in the rich silver-halide depth we see here—the deep blacks of the sea walls and the crisp, clear lines of the Cenotaph’s peak.

Blackpool’s Golden Age

During the time this photo was taken, Blackpool was the "working man's Eden." The town was a sprawling mass of theatres, ballrooms, and pier-end shows. Yet, this postcard captures a rare moment of stillness. There are no crowds of "Wakes Week" holidaymakers visible, only the spray of the sea and the solid, dependable architecture of the North Shore.

It serves as a reminder that before the neon lights of the modern Golden Mile took over, Blackpool was a place of grand Victorian and Edwardian ambition. The Cenotaph and the Metropole still stand today, though the world around them has changed beyond recognition. The Princess Parade remains a favourite spot for a "bracing" walk, though the fashion of the pedestrians has shifted from the cloche hats and heavy overcoats of the 1920s to the windbreakers of today.

Final Thoughts

Collecting and studying vintage postcards like this allows us to peel back the layers of our coastal towns. This image isn't just a souvenir; it is a document of a town honouring its dead while simultaneously building a future as a world-class resort. It captures the spirit of the 1920s—stoic, grand, and perpetually facing the sea.