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.

By the Sea at Cleethorpes: The Bustle of "The Slip" in the Edwardian Era

Today, I’m sharing a lively piece of British seaside history: a hand-coloured postcard showing "The Slip, Promenade, Cleethorpes." This image, busy with holidaymakers, horse-drawn carriages, and vendors, offers a perfect snapshot of a busy day at this popular Lincolnshire resort over a century ago.

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The Slip, Promenade, Cleethorpes

The Front: A Day at the Seaside, 1905

This postcard, identifiable by the clothing styles and the architecture, likely dates from the Edwardian period (c. 1901–1910). The scene is bursting with activity:

• Horse-Drawn Transport: Dominating the foreground and the beach are numerous horse-drawn vehicles. These range from heavy commercial carts to light carriages used by visitors to tour the promenade or travel along the firm sand.

• The Crowd: The promenade is packed with people dressed in long skirts, high collars, and large, elaborate hats—the height of fashion for a day out.

• Key Landmarks: Visible landmarks include the clock tower and the various buildings of the promenade, including the glass-domed structures that sheltered entertainers and vendors. Further out, you can just spot the framework of the pier and the high structure of the water tower or pier attraction.

• Hand-Colouring: The postcard has been beautifully hand-coloured, giving the sky a soft blue, and adding touches of red to the carriages and the brickwork, making the image pop.

The Message: A Quick Update from Holiday

The message on the reverse, postmarked Cleethorpes on a sunny August 5th, 1905, is a typical Edwardian holiday communication: short, sweet, and focused on the essentials.

Addressed to Mrs. Meader in Hastings, St. Leonards, the message reads:

"Dear Vi, Glad you arrived safe, hope you will enjoy your holiday, & you are having nice weather. I came home last night. enjoyed myself fine. Remember me to Will. biss"

• A Familiar Voice: The writer is clearly a friend or relative who has recently been on holiday, possibly at Cleethorpes or nearby, and is now writing after having returned home ("I came home last night").

• The Sea Air: The focus on the weather ("hope you will enjoy your holiday, & you are having nice weather") confirms the critical role of sunshine in a successful seaside holiday!

• The Kiss: The closing "biss" (an old-fashioned phonetic spelling of "kiss") is a charmingly affectionate sign-off.

This postcard perfectly encapsulates the dual nature of the seaside holiday: the bustling, public spectacle of the resort captured on the front, and the intimate, private message of friendship and travel logistics on the back.

Vines and Vistas: An Overgrown Beaumaris Castle and a Personal Plea

 Postcards often capture a fleeting moment in a landmark's history. This sepia-toned card from my collection, showing the Banquetting Hall at Beaumaris Castle, Anglesey, Wales, illustrates a time when nature had almost completely reclaimed the medieval fortress. More than the image, the handwritten message on the back offers a beautiful, heart-aching glimpse into an early 20th-century family separation.

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Banqueting Hall, Beaumaris Castle

The Front: Beaumaris Reclaimed

The image shows a section of the castle, specifically the Banquetting Hall, in a heavily overgrown state.

• A Romantic Ruin: Dating from the Edwardian period (c. 1900–1910s), this photo reflects a popular aesthetic of the time: the "Romantic Ruin." The stone walls are almost completely covered by thick ivy and other foliage, giving the castle a wild, ancient, and picturesque appearance.

• Beaumaris Castle: Begun by Edward I in 1295, Beaumaris is famous for its nearly perfect concentric design. This image, however, shows the structure not as a military masterpiece, but as a monument subsumed by the Welsh landscape, waiting to be rediscovered and restored.

The Message: A Plea for a Speedy Return

The message, addressed to Mrs. J. Curtis in Barry, Glamorgan, is postmarked from Harborne, near Birmingham, and carries a red One Penny stamp, likely dating the card to around 1911–1918.

The writing, while difficult to decipher in parts, conveys a profound sense of missing someone:

"Harborne forgot my bag was gone... I wish I was with both of you. But I must finish what I began so talk over those things. Don't you think of moving the little ones home. No sleep much. I expect to come home soon. Being afraid to lose you... hope to find myself fit to get to Harborne as then we shall be able to look after the nine small... all are well, as I hope you. Kindest hugs and kisses..."

The Context: Separation and Anxiety

• "The little ones" and "nine small": This suggests the writer, possibly a husband or parent, is separated from his wife/family. The mention of "nine small" might refer to nine small items, nine days, or perhaps even a large number of children or family members, depending on the full context.

• "No sleep much" and "afraid to lose you": This conveys intense anxiety and loneliness, possibly due to health issues, financial stress, or even military service (though the Harborne postmark makes a holiday unlikely).

• "Finish what I began": The writer is clearly working or carrying out an important task that prevents him from being home, but the need to see his family is paramount.

This postcard is a deeply personal and touching artifact—a historical image of an overgrown castle serving as the backdrop for a message of enduring family love and the profound difficulty of being apart.