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.

Vintage Cricket Elegance: Exploring the 1980 Royal Mail PHQ Postcard

 For many of us, the joy of collecting is found in the intersection of art, history, and a personal passion. In my collection, some of the most cherished pieces are those that capture the essence of British culture through the lens of the Royal Mail. Today, I’m thrilled to share a deep dive into a beautiful acquisition from my archives: the 1980 Sport (Cricket) PHQ Postcard.

This postcard is more than just a piece of stationary; it is a reproduction of a postage stamp, part of a set celebrating British sports. Whether you are a philatelist, a deltiologist, or a lifelong cricket fan, this card represents a golden era of both graphic design and the "Gentleman’s Game."

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The Beauty of the PHQ Card

PHQ cards (Postal Headquarters cards) are a specific delight for collectors. They are official postcards issued by the Post Office that feature enlarged reproductions of commemorative stamps.

This specific card, numbered PHQ 47 (d), was released on October 10, 1980. What makes this series stand out is the quality of the printing. Produced by The House of Questa in London—a legendary name in security printing—the colours remain vibrant and the texture of the cardstock feels substantial, even decades later.

Postcard Illustration of a British Postage Stamp Featuring Cricket Players

Artistic Mastery by Robert Goldsmith

The artwork featured on the front is the work of Robert Goldsmith. In the 1970s and 80s, stamp design was a prestigious field that required a unique ability to convey movement and detail in a very small square.

Goldsmith’s depiction of the batsman is masterfully executed. The style is painterly and impressionistic, using a vibrant palette of "cricket greens."

• The Action: The batsman is caught mid-stroke, his bat raised high, showing a sense of dynamic energy.

• The Details: From the traditional white flannels to the classic wooden stumps and the wicketkeeper crouched in anticipation in the background, every element evokes the atmosphere of a sunny afternoon at a local cricket ground.

• The Iconography: In the top right corner, the gold silhouette of Queen Elizabeth II anchors the card in its official British heritage.

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A Glimpse into 1980s Philately

Looking at the reverse of the card, we see the technical details that excite collectors. At the time of issue, the postcard itself was priced at 17 1/2p

The 1980 "Sport" set was a significant release. Alongside cricket, the set included stamps for other quintessentially British activities like rugby and athletics. By reproducing these as postcards, the Post Office allowed enthusiasts to appreciate the intricate artwork on a larger scale, making it a favourite for those who find stamp-sized art a bit too small for the naked eye.

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Why I Love This Piece

Collecting these cards is like holding a time capsule. When I look at this cricket card, I don’t just see a stamp reproduction; I see the cultural significance of 1980. This was an era before the digital revolution, where sending a postcard was a common way to stay in touch, and the "Sport" series celebrated the physical prowess and community spirit found in British sports.

The House of Questa, mentioned on the back, was known for using lithography to achieve stunning colour accuracy. This dedication to craft is why cards from this era have aged so gracefully. The whites of the cricketers' uniforms haven't yellowed, and the green of the field still feels fresh and inviting.

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Tips for Collecting PHQ Cards

If you are looking to start your own collection or have recently discovered a stack of these in an attic, here are a few things to look for:

1. Condition is Key: Look for sharp corners and a lack of "foxing" (brown spotting caused by age).

2. The "Mint" vs. "Used" Debate: Some collectors prefer "mint" cards (unused), while others love "first day of issue" (FDI) cards that feature the actual stamp and a commemorative postmark on the back.

3. Printer Marks: Cards printed by The House of Questa or Harrison & Sons are often highly regarded for their print quality.

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Final Thoughts

Cricket is a game of patience, strategy, and beauty—qualities that are reflected in the design of this 1980 postcard. It remains a standout piece in my collection because it marries the technical precision of the Post Office with the artistic vision of Robert Goldsmith.

Every time I flip through my album and land on PHQ 47 (d), I’m reminded of why I started collecting in the first place: to preserve these small, beautiful fragments of history.

A Glimpse of the Venice of the North: The Timeless Charm of the Quai Vert, Bruges

 There is a specific kind of magic found in the "Golden Age" of postcards—a time when a few cents and a stamp could transport a piece of European elegance across oceans. Today, we’re diving into a beautiful piece of Belgian ephemera: a vintage postcard titled "No. 34 — QUAI VERT, BRUGES."

This isn't just a piece of cardstock; it is a window into the early 20th-century soul of one of Europe's most preserved medieval cities. Let’s explore the history, the artistry, and the specific location captured in this impressionistic gem.

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The Scene: Le Quai Vert (The Groenerei)

The front of the card features a lush, painterly depiction of the Quai Vert, known in Flemish as the Groenerei (the Green Canal). Widely considered the most romantic and picturesque canal in Bruges, the Groenerei follows the natural course of the old Reie River.

In the centre of the image, the Meebrug, a 14th-century stone bridge, arches gracefully over the water. If you look toward the horizon, the silhouette of the Belfry of Bruges (the Belfort) stands tall, anchoring the composition. To the right, we see the charming "Little Tower" of the Godshuis De Pelikaan, its white walls and slate roof reflecting perfectly in the still canal.

The artist has captured a quiet moment of daily life: two women in traditional dress—likely lace-makers or local workers—carrying baskets along the cobblestone path. It evokes a sense of "Bruges-la-Morte," the quiet, melancholic beauty that made the city a magnet for artists at the turn of the century.

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Dating the Card: A 1910s Treasure

Determining the age of a vintage postcard is a bit like detective work. Based on the physical clues from the "Rear" image provided, we can place this card quite accurately:

• The Divided Back: The reverse side features a central vertical line separating the "Correspondance" (message) from the "Adresse." This "Divided Back" style was officially permitted by the Universal Postal Union starting around 1902–1907. Before this, the back was reserved only for the address, and people had to scrawl their messages on the front.

• The Publisher & Artist: The card is noted as being the property of E. Verbeke, Bruges (St Pierre) and painted by G. Tilburn. E. Verbeke was a prolific publisher of "Art Postcards" in the early 1900s. The artist, G. Tilburn, specialized in these soft-focus, impressionistic views of Belgian cities, which were immensely popular between 1910 and 1918.

• Print Quality: This is a high-quality lithograph. The lack of a postage stamp or postmark suggests it may have been part of a souvenir set sold to a traveller who kept it as a memento rather than mailing it.

Estimated Date: Circa 1910–1914. It captures Bruges just before the onset of World War I, during the peak of its first great tourism boom.

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The Artist: G. Tilburn

G. Tilburn was an artist whose work frequently appeared on the postcards of E. Verbeke. Unlike the sharp, realistic "Photochrom" prints of the era, Tilburn’s style was intentionally soft and atmospheric. He utilized a palette of ochres, terracotta reds, and deep greens to emphasize the "ancient" feel of the city.

By turning a photograph into a painting, Tilburn transformed a simple tourist souvenir into a work of art that captured the feeling of Bruges rather than just its architecture.

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Collector’s Corner: Why This Card Matters

For collectors of Belgian ephemera, this card is a "Number 34" in a specific series. These numbered series were often collected in albums, much like trading cards today.

What makes this particular card stand out is the Quai Vert itself. While many parts of Europe were modernized or destroyed in the World Wars, this exact view remains almost identical today. If you stand on the Steenhouwersdijk today and look toward the Meebrug, you are seeing the same skyline G. Tilburn painted over 110 years ago.

Whether you are a deltiologist (a postcard collector) or simply a lover of European history, this card is a beautiful reminder of why Bruges is called the "Venice of the North." It captures a moment of stillness in a city that time forgot.

The Golden Hour of Antiquity: Unveiling a Vintage Postcard of Rome’s Acqua Claudia

 There is a specific kind of magic found in early 20th-century postcards—a blend of historical documentation and romantic artistry. This particular card, a beautiful lithograph of the Campagna Romana, transports us back to an era when the Roman countryside was a vast, pastoral landscape punctuated only by the skeletal remains of the ancient world.

The Scene: Sunset at Acqua Claudia

The front of the postcard features a painterly rendition of the Acqua Claudia, one of the "four great aqueducts of Rome." Completed in 52 AD by Emperor Claudius, it once stretched over 43 miles, bringing water from the Caerulean and Curtian springs to the heart of the Eternal City.

In this artwork, the ruins are bathed in the soft, rosy hues of a Mediterranean sunset. The artist has captured a lone figure on horseback—a buttero (Italian cowboy) or perhaps a traveling shepherd—crossing a small stream in the foreground. This inclusion isn't just for scale; it emphasizes the "Grand Tour" aesthetic that made the Roman Campagna a favourite subject for artists like Poussin and Claude Lorrain. The reflection of the arches in the still water adds a layer of tranquillity, bridging the gap between the monumental engineering of the past and the quiet rural life of the present.

Dating the Card: A Deltiologist’s Detective Work

Dating a vintage postcard requires looking at both the art and the "anatomy" of the card's reverse side.

• The Divided Back: The back of the card features a vertical dashed line, splitting the space into a message area (left) and an address area (right). This is known as a "Divided Back" postcard. In Italy and much of Europe, the Universal Postal Union authorized this format around 1905–1906. Prior to this, postcards had "undivided backs," where the entire reverse was reserved for the address, forcing senders to scribble messages on the front.

• The Publisher’s Mark: In the bottom-left corner of the reverse, we see a distinctive diamond-shaped logo containing a stylized mountain (likely Vesuvius or the Alps) and the initials "F & C." This is the mark of Finkenrath & Grasnick, a prolific postcard publisher based in Berlin, Germany.

• The Serial Number: The number 205 next to the logo indicates its place in a specific series of Italian views.

Estimated Date: Given the divided back and the fact that German printers dominated the high-end lithographic market until the outbreak of World War I, this card most likely dates from 1905 to 1914. After 1914, the trade routes for German-printed cards were largely severed due to the war.

The Campagna Romana in Modern Times

Today, the area depicted in this postcard is largely preserved within the Parco degli Acquedotti (Park of the Aqueducts) in Rome. While the "Campagna" is no longer the desolate, marshy wilderness it was in the 19th century, you can still stand in the very spot where this artist likely sat. The towering arches of the Acqua Claudia still catch the orange light of the setting sun, much as they did when this postcard was printed over a century ago.

For collectors (deltiologists), pieces like this are more than just paper; they are "time machines" that capture the intersection of Roman history, German printing excellence, and the timeless beauty of the Italian landscape.

A Nocturnal Masterpiece: Exploring a 1980s Vintage Tower Bridge Postcard

 There is a specific kind of magic found in the artifacts of the pre-digital travel era. Before Instagram filters and instant uploads, the way we shared the majesty of a city was through the tactile, glossy medium of the postcard. Today, I’m diving into a particularly evocative piece from my collection: a vintage postcard titled "London – Tower Bridge by Night," published by Thomas Benacci Ltd. in 1988.

This isn't just a souvenir; it’s a stylized time capsule of London’s aesthetic at the tail end of the eighties. Let’s take a closer look at what makes this specific card a standout piece for collectors and London enthusiasts alike.

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Tower Bridge by Night

The Artistry of the Night

The front of the postcard features a striking, painterly depiction of Tower Bridge. Unlike modern photography which strives for hyper-realism, this image has a wonderful, almost cinematic texture. The sky is a deep, moody teal that bleeds into charcoal, creating a dramatic backdrop for the illuminated Gothic towers.

One of the most charming details is the bascules (the "arms" of the bridge) being raised. Even today, seeing the bridge open to allow a vessel through is a highlight for any tourist, but in this artistic rendering, it feels monumental. Below the bridge, a sleek white boat glides through the dark waters of the Thames, while the iconic red silhouette of a double-decker bus waits patiently on the bridge deck—a quintessential London scene frozen in time.

To the left of the frame, you can see the Tower of London glowing in a soft, ethereal white, its reflection dancing on the rippling surface of the river. The use of light in this illustration is masterful; it captures the "glow" of the city before the era of modern LED streetlighting, giving it a warmer, more nostalgic atmosphere.

Behind the Card: Thomas Benacci Ltd.

Turning the card over reveals the technical DNA of this collectible. For postcard enthusiasts (deltiologists), the "back matter" is often as interesting as the image itself.

• The Publisher: Thomas & Benacci Ltd. was a well-known name in the London souvenir trade during the 80s and 90s. Based in London, their cards often featured high-quality printing and distinct artistic styles.

• The Vintage Details: The card features a classic 1980s London telephone number: (071) 9240635. The "071" area code is a dead giveaway for the era, as London's codes were split into 071 (Inner) and 081 (Outer) in 1990, before eventually moving to the 020 format we know today.

• Production: The card is marked as "Printed in EEC" (European Economic Community), a precursor to the European Union. This small detail adds a layer of geopolitical history to the piece.

• Serial Number: This specific design is labelled A115, marking its place in a larger series of London views.

Why This Postcard Matters to Collectors

Collecting postcards from the 1980s is currently seeing a surge in popularity. While "Golden Age" cards (1900–1915) have always been prized, the late 20th-century cards offer a "retro" appeal that resonates with Gen X and Millennials.

This specific card is in beautiful condition. You can see the slight "foxing" or aging near the top edge of the reverse side, which proves its age without detracting from the image. The fact that it remains unposted (no stamp or message) makes it a "mint" example, allowing us to appreciate the paper quality and the crispness of the "T&B" logo at the top.

Tower Bridge: An Ageless Icon

Tower Bridge, completed in 1894, has always been London's most photogenic landmark. Often confused by tourists with the much simpler London Bridge, Tower Bridge is a feat of Victorian engineering.

In 1988—the year this card was copyrighted—the bridge was already nearly a century old. At that time, the area surrounding the bridge, particularly the Docklands, was undergoing a massive transformation. This postcard captures the bridge just as London was pivoting from its industrial past into its future as a global financial hub.

When you hold this card, you aren't just looking at a bridge; you're looking at how we wanted to see London in 1988: vibrant, historic, and slightly mysterious.

Adding "A115" to Your Collection

If you are starting a collection of London memorabilia, Thomas Benacci cards are a fantastic entry point. They are accessible, yet they possess an artistic quality that sets them apart from the mass-produced, flimsy souvenirs found in modern gift shops.

The heavy cardstock, the saturated inks, and the stylized "night" filters remind us of a time when sending a piece of mail was the primary way to say, "I wish you were here."

Warmth in Ward 10: A 1985 Tale of Two Sisters and a Blackburn Postcard

 The beauty of collecting vintage postcards lies not just in the art on the front, but in the whispered histories on the back. Recently, I added a piece to my collection that serves as a poignant time capsule of mid-80s Britain. It is a postcard of Blackburn Cathedral, but its true value is found in the hurried, blue-inked cursive of a sister named Nellie, writing to her sibling, Dorothy, who was recovering in a hospital ward.

Blackburn Cathedral, Albert E, Hurst

The Art: A Cathedral in Watercolour

The front of the postcard features a reproduction of an original watercolour by Albert E. Hurst, R.S.A. It depicts Blackburn Cathedral (The Cathedral Church of Blackburn St Mary the Virgin with St Paul) in a soft, atmospheric style. Hurst captures the architectural transition of the building—the traditional Gothic lines of the tower juxtaposed against the mid-century modern lantern spire, which was added in the 1960s.

The painting feels peaceful, with long shadows stretching across the cathedral grounds and figures strolling leisurely through the trees. It presents Blackburn not as a bustling industrial town, but as a place of sanctuary and light. For Dorothy, sitting in a hospital bed in 1985, this image was likely a breath of fresh air—a window into the world outside the sterile walls of the ward.

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The Message: A Snapshot of 1985

Turning the card over, we step directly into November 16, 1985. The postage stamp—a classic coral-pink 13p definitive featuring Queen Elizabeth II—is cancelled by a Blackburn postmark.

The message is addressed to:

Mrs. D. Biddle Ward 10, ‘Christie Hospital’ Withington, M20 9BX

The Christie Hospital in Manchester is world-renowned for cancer care, which immediately adds a layer of weight to Nellie’s words. Her message is a masterclass in the "stiff upper lip" and the quiet devotion of the era.

"My dear sister, by the time you receive this, I hope you will be feeling a little better. Gordon is ringing me tonight—I keep wondering if you are warm enough."

This small detail—the worry over being "warm enough"—is so quintessentially British and deeply maternal. It reflects a time before instant messaging, where family updates were filtered through landline calls (the "Gordon is ringing me" mention) and physical mail.

The Success of the Jumble Sale

One of the most charming segments of the letter is Nellie’s report on local news. In an age before GoFundMe, community spirit was powered by the "Jumble Sale."

"The jumble sale was a great success, we made £125! A lot of the thanks go to you Dorothy."

In 1985, £125 was a significant sum—equivalent to roughly £400 today. It’s clear that even from her hospital bed, Dorothy had been involved in the preparations, perhaps knitting items or organizing logistics from afar. Nellie wanted her sister to know that her efforts had come to fruition, providing a sense of purpose and accomplishment during a difficult time.

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Why These Cards Matter

As collectors, we often focus on the rarity of the print or the quality of the stamp. But this postcard reminds us that these were, first and foremost, vessels of human connection. Nellie signs off with:

"Thinking of you all the time. Fondest love, Nellie xx"

The handwriting is slightly shaky, tucked into the bottom margin of the card as she ran out of space. It’s a physical artifact of a moment in time—a Tuesday in November where a sister in Blackburn walked to the post box to send a sliver of hope to a sister in Manchester.

Final Thoughts

This Blackburn Cathedral postcard is more than just "ephemera." It is a testament to the enduring power of the written word. In our digital age, a text message is easily deleted, but Nellie’s concern for Dorothy’s warmth and her pride in their successful jumble sale have survived for forty years.

When we hold these cards, we aren't just looking at old paper; we are holding the echoes of lives lived with care, community, and "fondest love."

Art on the Move: A Dutch Masterpiece in the Mail

One of the most intriguing aspects of deltiology—the study and collection of postcards—is the way it allows high art to travel into the most mundane spaces of everyday life. Today, I am looking at a beautiful "Art Postcard" from my collection that features a reproduction of "A Hilly River Landscape" by the Dutch Golden Age painter Aelbert Cuyp. While my previous posts have often focused on historical photography, this piece represents a different tradition: the museum souvenir that bridges the gap between the National Gallery and a kitchen table in North West London.

A Hilly River Landscape, Aelbert Cuyp

The Visual: Cuyp’s Golden Glow

The front of the card features a vibrant reproduction of Cuyp’s masterpiece (originally painted between 1620 and 1691). Aelbert Cuyp was renowned for his ability to capture the "golden hour," and this landscape is no exception.

In the scene, a rider in a striking red coat sits atop a dappled grey horse, surveying a peaceful pastoral scene. Below him, a group of cattle and sheep rest in the lush grass, while a woman in a blue dress stands nearby, accompanied by two attentive hounds. In the middle distance, the hazy silhouette of a tower or ruin sits against a sun-drenched hillside, while a river winds its way toward the horizon.

This image isn't just a landscape; it is an idealized vision of harmony between man, beast, and nature. By the time this postcard was produced by Fine Art Engravers, Ltd. for the Trustees of the National Gallery, Cuyp's work had become a staple of British aesthetic appreciation.

The Message: Supper Parties and Cornwall Adventures

While the front offers timeless Dutch beauty, the reverse provides a lively, modern dispatch written in flowing teal ink. Sent to a Robina at 23 Chalcot Cres., London NW1, the message is a delightful thank-you note from a woman named Lisa.

Lisa writes:

"Thank you for the most lovely supper party the other night—I much enjoyed meeting everyone—for various different reasons!"

This small detail—the "various different reasons"—adds a wonderful touch of mystery and social intrigue to the card. It suggests a night of stimulating conversation and perhaps a few eccentric characters. Lisa goes on to mention her attempts to coordinate with a mutual friend:

"I had hoped to be able to write & say I'd fixed up a day with Alison Norman, but I haven't been successful in finding her yet."

Finally, Lisa mentions her recent travels:

"I have been away to Cornwall & had a windy & rather energetic holiday. I do hope you are now fully recovered."

This transition from the idealized hills of a Dutch painting to the "windy & energetic" reality of a Cornish holiday is exactly why I love collecting these cards. They anchor high-brow art in the low-brow reality of post-holiday fatigue and social scheduling.

The Artifact: A National Gallery Souvenir

This specific card is No. 1296 in the National Gallery’s series. It was printed in Great Britain by Fine Art Engravers, Ltd., a firm known for their high-quality reproductions. Unlike the early 20th-century cards in my collection, this one lacks a postage stamp, suggesting it might have been enclosed in an envelope or hand-delivered.

The address—23 Chalcot Crescent—is a notable detail for any Londoner. This iconic, curved street in Primrose Hill is famous for its pastel-coloured houses and has been home to many writers and artists over the years. Receiving a Dutch masterpiece through the door of a Primrose Hill townhouse seems perfectly in character for the neighbourhood’s artistic history.

Why Art Postcards Endure

Museum postcards like this one serve a dual purpose. For the sender, they are a way to signal their tastes and share a piece of beauty they encountered during a visit. For the recipient, they are a free piece of art that can be pinned to a corkboard or tucked into a mirror frame.

Looking at this Cuyp reproduction today, I’m struck by how the colours remain so vivid. The "National Gallery" branding on the back reminds us that these institutions have long understood the power of the postcard as a tool for democratizing art. Whether it’s a thank-you for a "lovely supper party" or a quick update on a "windy" holiday, the postcard ensures that even a 17th-century masterpiece has a role to play in 20th-century friendships.

A Glimpse of Edwardian Leisure: The Weir and Suspension Bridge, Leamington

There is a specific kind of magic in holding a postcard sent over a century ago. It isn’t just the image on the front—a hand-tinted window into a lost landscape—but the frantic, looping handwriting on the back that bridges the gap between "history" and "humanity."

Today, I’m looking at a beautiful piece from my collection: a postcard of The Weir and Suspension Bridge in Royal Leamington Spa, postmarked September 1906.

The Weir and Suspension Bridge, Royal Leamington Spa

The Scene: Victorian Engineering meets Picturesque Charm

The front of the card features a classic view of the River Leam. The suspension bridge, which once connected the Jephson Gardens to Mill Gardens, stands as a testament to the town’s Victorian heyday as a premier spa destination.

The colorization gives the water a serene, glassy blue tint, contrasting with the warm red-brick chimneys of the houses in the background. In 1906, this was the height of local fashion. Visitors would have strolled along the riverbanks, perhaps after taking the "medicinal waters" at the Royal Pump Rooms nearby, enjoying the rhythmic sound of the weir.

The Message: "A Beautiful Place"

While the image is captivating, the reverse side of the card tells the real story. Sent to Mr. & Mrs. Gushlow at 23 Bramble St., Coventry, the message is a warm, domestic dispatch from a woman named Emily to her "Dearest Annie & Arthur."

Emily writes:

"Thought perhaps you would like a P.C. [postcard] of Leamington. My dear sister & I were both there yesterday, it is a beautiful place but I daresay you have both been."

It is a lovely reminder that even in 1906, Leamington Spa was a "staycation" favourite for those living in nearby industrial hubs like Coventry. Emily goes on to mention her hopes for a visit:

"I shall come over to Coventry sometime & see you because you were both so kind the last time... we are having some beautiful weather now, so we shall be very pleased to have you both over at Melton when it is most convenient for you to come."

A Snapshot of 1906

The postcard is a perfect artifact of the Edwardian "Postcard Boom." Between 1902 and 1910, billions of cards were sent through the British postal system. The postmark here is crisp: COVENTRY, 2 PM, SP 6, 06.

In an era before smartphones, these cards were the "text messages" of the day. They were cheap, fast (often delivered the same day), and allowed people to share their experiences in near-real-time. The Half Penny green stamp in the corner was all it took to send this affectionate note across Warwickshire.

Why This Matters Today

Looking at this card, I can’t help but think of the Gushlow family receiving this on their doorstep on a Thursday afternoon in September. The "beautiful weather" Emily mentions has long since passed, and the suspension bridge in the photo was replaced decades ago, but their connection remains preserved in ink.

Collections like these remind us that history isn't just about Kings and Wars; it's about sisters taking day trips to the river and friends promising to visit one another when the weather is fine.

Merry Motoring: When Santa Ditched the Sleigh for a Motorcar (c. 1908)

 Happy Christmas to all! As we settle down with our mince pies and electronic gadgets today, I wanted to share a fascinating piece of history from my postcard collection that beautifully illustrates how traditions evolve: a postcard featuring Santa Claus driving a vintage motorcar!

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Santa Claus, Vintage Motor Car 1908

The Image: A High-Speed Holiday Delivery

This stunningly detailed illustration, likely dating from the early 1900s during the Edwardian period, shows a surprisingly modern (for the time) Santa.

• The Automobile: Instead of his traditional sleigh, Santa is pulling up in a large, dark green touring car, complete with brass lamps and big, spoked wheels—a luxury vehicle of its era. This detail perfectly captures the excitement and modernity that the automobile represented at the turn of the century.

• The Cargo: He's not carrying a big sack of toys, but rather unloading a wicker basket containing a doll. Next to him in the back seat are a variety of classic, old-fashioned toys, including a hobby horse, a wooden doll, and even a Punch-and-Judy style clown figure.

• The Setting: The deep blue background is decorated with traditional holly and red berries, grounding the scene in classic Christmas iconography, while the inscription "Merry Christmas" stretches across the bottom.

The Context: Santa's Evolution

This postcard is a wonderful piece of commercial art that tracks Santa's image in the public imagination. By the 1900s, the modern image of the jolly, bearded, red-suited Santa was established, largely thanks to Thomas Nast's illustrations from the late 19th century.

However, as society embraced new technology, Santa was often reimagined to reflect contemporary life:

• Modernity vs. Tradition: In the Edwardian era (c. 1901–1910), the motorcar was the ultimate symbol of speed, wealth, and progress. Placing Santa—a figure of deep tradition—behind the wheel of an early automobile was a clever way for artists and publishers to make the Christmas season feel exciting, new, and relevant to the fast-changing world. It suggests that even the most magical deliveries require a little modern efficiency!

• The Golden Age of Postcards: Produced during the peak of postcard popularity, cards like this were essential for sending holiday cheer, often traveling rapidly through the burgeoning postal system.

This image is a joyful blend of old and new: the eternal spirit of Santa Claus delivering presents, but updated for a century that was just learning to drive. It's a fantastic reminder that the spirit of Christmas, while timeless, always finds a way to move with the times—even if it means trading reindeer for horsepower!

A Duchess's Portrait and the Duke's Home: An Edwardian Postcard Mystery

 Postcards are little fragments of history, and sometimes they offer a fascinating, tantalizing glimpse into aristocratic life and Edwardian artistic tastes. This recent find in my collection is a perfect example: a striking portrait postcard dated December 16, 1908, bearing a cryptic handwritten note.

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Iris Serie 1557

The Portrait: Iris Serie 1557

The front of the card features a stunning colour portrait, likely a reproduction of a painting, enclosed in an oval border against a pale blue background. The woman wears a large, fashionable hat—possibly a Gainsborough or Georgian style, very popular for portraiture at the time—with a wide green bow and voluminous, stylish hair.

A closer look at the reverse side, printed in Germany by Meissner & Buch, Leipzig, reveals the series title: "Iris Serie 1557." This places the card firmly in the era of high-quality color printing, often reproducing famous works of art for the mass market.

The Message: "The Duke of Sutherland's home"

The handwritten message is short, but packed with historical context:

"The Duke of Sutherland’s home Trentham Hall is full of such pictures as these are. P. Dec. 16 '1908"

The Context: Trentham Hall

• The Duke of Sutherland: In 1908, the 4th Duke of Sutherland, Cromartie Sutherland-Leveson-Gower, held the title. The Sutherland family was one of the wealthiest in Britain, owning vast estates, including Trentham Hall.

• Trentham Hall: Located in Staffordshire, Trentham Hall was the principal family seat. It was a spectacular Italianate palace, famous not just for its architecture and gardens (designed by Capability Brown), but for its legendary art collection.

• "Such pictures as these are": The writer, signing off simply as 'P.', suggests this postcard portrait is representative of the works lining the walls of Trentham Hall. The Sutherland collection was renowned, containing masterpieces by artists like Reynolds, Gainsborough, and Van Dyck—masters of the very style the postcard reproduces.

What Does It Mean?

The postcard suggests that 'P.' had either visited, or was writing from, Trentham Hall just before Christmas 1908. Perhaps 'P.' was a guest, a member of the staff, or a visitor to the famous gardens. The note acts as a miniature commentary on the Duke's extravagant collection, implying the house was filled with grand, beautiful portraits like the one on the card.

Tragically, just a few years after this card was sent, the history of Trentham Hall took a dramatic turn. Due to persistent environmental issues related to the River Trent and pollution from nearby industry, the magnificent house was mostly demolished in 1911. The postcard, therefore, is a tiny artifact from the very end of the Hall’s life as one of England’s greatest stately homes.

This simple card gives us a marvellous peek into the opulence of the Edwardian aristocracy and the fleeting nature of their grand estates.

A Rainy Day in the Highlands: Postcard from Callander

This postcard is a wonderful find, pairing a beautiful early 20th-century painting with a detailed, personal message that truly transports you to a wet, wild day in Scotland.

Highland Sheep

The Image: Highland Sheep

The front of the card features a serene painting titled "HIGHLAND SHEEP," likely an oil or watercolour reproduction:

• Scene: The image shows a group of sheep gathered on a rocky, heather-covered hillside. The vibrant pink and purple heather contrasts beautifully with the pale wool of the sheep and the misty, blue-grey mountains that fade into the background.

• Atmosphere: The low lighting and hazy mountains evoke the typical dramatic, atmospheric weather of the Scottish Highlands. The painting is signed with initials, possibly "J.W.P" or similar, adding a touch of artistic intrigue.

• Publisher: The card is an "APOLOGY AND CONGRATULATORY VALENTINE." This, combined with the "VALENTINE'S POST CARD" header and the image of a globe and heart reading "LOVE THROUGHOUT," suggests it was printed as a multi-purpose greeting card, sent here as a general letter.

The Message: "The wettest parts of Scotland"

The postcard was sent from Perthshire, Scotland, and addressed to Mrs. Welham in Surbiton, Surrey, England.

The postmark is clearly dated 27 MAR 1916, placing the message right in the middle of World War I and the reign of King George V.

The sender, writing to "Dear Mother," provides a vivid account of their travels:

"Dear Mother. We are now at Cullomlar and I think that the Trossachs are one of the wettest parts of Scotland. It rained all day last night and up to 5pm today. The locks were extremely rough and troughs round even a whole beer keg have fallen in the road. Apologies and sorry latter on the other side. Awaiting culture of the people and children. Love. D"

Key Takeaways from the Message:

• Location: The sender mentions being at Cullomlar (likely referring to Callander, near The Trossachs National Park, famous for its lochs like Loch Katrine).

• Weather: The emphasis on the rain is striking—"It rained all day last night and up to 5pm today." This reinforces the card's atmospheric image.

• War-Time Travel: Despite the dark cloud of WWI hanging over the country, people were clearly still travelling and sending detailed updates home.

• The Stamps: The two stamps are particularly interesting: a King George V 1d (Penny) stamp and a 3d Revenue stamp, used for postal purposes at the time, offering an accurate date marker.

This postcard is a phenomenal piece of history, linking the beauty of the Highlands with a personal moment from over a century ago.

A Floral Memory: Receiving "Flower Mentions" from Harry

This postcard is a gorgeous piece of sentimental art, showcasing a lavish bouquet of roses and carnations in rich, saturated colours. It's titled simply by the artist's signature "Suzy 379," yet the simple message on the back tells a story of affection and anticipation.

Suzy 379, Floral Display

The Image: Suzy 379

The front of the postcard is a high-quality reproduction of a floral painting or possibly a hand-coloured photograph, giving it a rich, almost velvet-like texture:

• The Flowers: The bouquet features a mix of deep crimson, magenta, white, and pink roses and ruffled carnations, accented by sprays of delicate blue forget-me-nots and baby's breath.

• The Style: The flowers are arranged diagonally across a dark, textured background, drawing the eye across the composition. The style is romantic and decorative, designed to convey a feeling of deep affection, perfect for sending to a loved one.

• The Artist: Postcards signed by "Suzy" are a known feature of early 20th-century collections, though the full identity of the artist remains a popular postcard mystery.

The Message: "Received letter today Friday"

The back of the card, an undivided back (typical of the earlier postcard era or specific publishers), contains a brief, sweet message sent from Harry to Queenie:

"To Queenie received letter today friday with flower Menties so much Will write later with love from Harry x x x x"

Key Takeaways from the Message:

• The Names: The intimate names, Queenie and Harry, suggest a close relationship, likely a courtship or marriage.

• The "Flower Menties": This is the most charming and intriguing detail. "Flower Menties" (mentions) could mean that Harry's letter described flowers he had seen, or perhaps referenced the flowers shown on this card, confirming the card was sent as a direct response to Queenie's letter. It speaks to a shared appreciation of beauty and nature between them.

• The Time: The style of the card and the undivided back suggest a date in the early 1900s (pre-1907 for the UK, but the style persisted), placing this correspondence in the Golden Age of Postcards.

This postcard is a beautiful connection to a time when brief written notes, adorned with rich imagery, were a standard way to share affection and maintain correspondence, showing us the enduring charm of simple, heartfelt greetings.

Village Secrets: A Glimpse of Rural Somerset in the Edwardian Era

This postcard, titled "Village Gossips," captures a moment of everyday life in a way that modern media rarely does. It’s an evocative illustration of two women meeting on a country lane to exchange news and, perhaps, a few secrets.

Village Gossips

The Image: Village Gossips

The front of the postcard is a colour illustration—a popular style in the early 20th century—that immediately establishes a strong rural setting:

• The Scene: Two women are meeting near a wooden gate and a dry stone wall, in front of a modest brick cottage. The setting, complete with a dirt road, suggests a quiet English village.

• The Subjects: The woman in the foreground is dressed in dark, traditional working clothes and a white headscarf, suggesting she is out running errands or returning home. The woman leaning against the wall is dressed in lighter, more contemporary attire for the era (around 1900-1910). The title confirms their activity: a simple meeting for a friendly chat.

• The Publisher: The card is a "TUCK'S POST CARD," published by Raphael Tuck & Sons, a hugely famous and prolific company known for their high-quality artistic postcards.

The Message: Safe Return to Winscombe

The postcard was sent to Miss Pond at the Pink House in Clapstable, Winscombe, Somerset.

Though the handwriting is ornate and challenging to read in places, the message appears to be a friendly update, possibly from someone who has recently travelled:

"Dear Miss Pond. I have arrived safe and well and Sannie returned safely back and is quite pleased. I intend [to] [come] back [here] [next] [week] [and] [get] [a] few things. Hope you are enjoying the journey. Love, T.B."

Key Takeaways from the Message:

• Location: The destination, Winscombe, Somerset, suggests the image is meant to represent general English village life, perhaps mirroring the recipient’s own locale.

• The Date: The stamp and postmark are difficult to read precisely, but the undivided back (where the message and address are mixed on one side, separated only by a vertical line, common in the UK from 1902 onwards) and the King Edward VII one-penny stamp confirm an early 20th-century date, likely between 1902 and 1910.

• The Name "Sannie": The mention of "Sannie" returning safely is a sweet detail. "Sannie" may refer to a relative, a child, or even a beloved pet who completed a journey.

This postcard perfectly blends art, social history (the tradition of village gossip), and personal connection, all thanks to the enduring quality of a Tuck's Post Card.