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.

A Timeless Glimpse of Kent: The Tudor Charm of Penshurst

There is something inherently magical about a vintage postcard. It isn’t just a piece of cardstock; it is a paper-thin time machine. Today, I’m pulling a particularly vibrant specimen from my collection: a Plastichrome postcard featuring the breathtaking village of Penshurst, Kent.

The image captures a cluster of timber-framed and tile-hung cottages that look as though they were plucked straight from a storybook. With its deep cerulean sky and the warm, saturated tones characteristic of mid-century colour printing, this card offers more than just a view—it offers a mood.

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The Scene: Leicester Square and Beyond

The front of the postcard showcases the architectural heartbeat of Penshurst. This isn't just any street corner; this is the entrance to Leicester Square (not to be confused with its bustling London namesake). The buildings pictured are a masterclass in Kentish vernacular architecture.

• Timber-Framing: Look at the striking vertical "close-studding" on the left. This style was a sign of wealth in the 15th and 16th centuries, as it required significantly more oak than standard framing.

• Tile-Hanging: The central cottage features beautiful terracotta scales—a classic Kentish technique designed to protect the porous wattle-and-daub walls from the driving English rain.

• The Tall Brick Stacks: Notice the towering, ornate chimneys. In the Tudor era, chimneys were the ultimate status symbol; they signalled that you could afford multiple fireplaces and the coal or wood to feed them.

Just out of frame to the left is the famous archway leading to the churchyard of St. John the Baptist, and beyond that lies the sprawling grandeur of Penshurst Place, the ancestral home of the Sidney family for centuries.

Dating the Card: A Mid-Century Mystery

As collectors, we always play detective. While this card is unused and lacks a postmark, the technical clues on the reverse tell a specific story.

The card is a Plastichrome produced by Colourpicture Publishers, Inc. of Boston, Massachusetts. This company was a giant in the industry from the 1950s through the 1970s. The "WB 197" series number and the credit to photographer H. D. Keilor provide a strong lead. Keilor was an incredibly prolific photographer of British landscapes during the post-war tourism boom.

Estimation: Based on the saturated colour palette, the typography of the "Post Card" header, and the reference to the local roads (B 2176 and 2188), I would date this postcard to the mid-to-late 1960s. The bicycle leaned against the brick wall in the foreground has a silhouette consistent with a 1960s roadster, further anchoring us in that nostalgic era.

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Why Penshurst Matters

The back of the card describes Penshurst as a "picturesque Kentish village" and mentions Penshurst Place as a "beautiful 14th century house." This is an understatement.

Penshurst Place is one of the most complete examples of 14th-century domestic architecture in England. It was once owned by King Henry VIII, who used it as a hunting lodge while he was courting Anne Boleyn at nearby Hever Castle. Later, it was gifted to the Sidney family by King Edward VI. It was the birthplace of the great Elizabethan poet Sir Philip Sidney, making this village a pilgrimage site for lovers of history and literature alike.

The postcard perfectly captures the "Old England" aesthetic that was heavily marketed to American tourists in the 1960s. The "Plastichrome" process allowed for these hyper-real, glossy finishes that made the English countryside look eternally sunny—even if the reality involved a bit more drizzle!

Final Thoughts

This postcard is a reminder of why we collect. It’s a preserved slice of the Garden of England, captured at a time when the world was beginning to travel again, and the quiet, timbered corners of Kent were waiting to be rediscovered.

Whether you’re a fan of Tudor history, a lover of vintage photography, or just someone who appreciates a well-placed picket fence, this view of Penshurst is a classic for a reason. It represents an England that, despite the passing of decades, remains stubbornly and beautifully unchanged in our collective imagination.

The Serene Harbourside of Polperro

 There is something inherently soothing about the Cornish coastline, and this postcard of Polperro, Cornwall captures that "frozen in time" essence perfectly. Unlike the glossy, high-saturation photographs we often see today, this card features a reproduction of an original painting, lending it a soft, nostalgic texture that feels as warm as a summer evening in the West Country.

The Scene

The artwork, created by artist Derek Watson, depicts the iconic Polperro harbour. Watson’s style emphasizes the tight-knit architecture of the fishing village—cottages stacked almost on top of one another against the lush, green hillside. The foreground is dominated by traditional fishing boats (luggers) resting on the calm water, their masts creating a rhythmic verticality against the horizontal lines of the stone quays.

Technical Details

• Subject: Polperro Harbour, Cornwall.

• Artist: Derek Watson.

• Publisher: Chrispdaw (Carwen House Studio, Blisland, Bodmin).

• Printer: Dowrick Design & Print Ltd., St. Ives.

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Estimating the Date

Pinpointing the exact year of a postcard can be a fun bit of detective work. Based on the publishing credits and the printing style, we can narrow this down:

• The Printer: Dowrick Design & Print Ltd. was quite active in Cornwall from the late 1970s through the 1990s.

• The Design: The clean, sans-serif typography on the reverse side is characteristic of British postcards from the mid-1980s to early 1990s.

• The Publisher: Chrispdaw (based in Blisland) was a known producer of local art-based stationery and postcards during this same window.

Verdict: This card was most likely published between 1985 and 1992. It represents a period when local artists were heavily commissioned to create "souvenir art" that felt more personal than a standard photograph.

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Final Thoughts

Whether you’ve walked those narrow streets yourself or simply dream of a Cornish escape, this Derek Watson piece captures the quiet dignity of a village that has survived on the whims of the sea for centuries. It’s a beautiful addition to any collection focusing on British maritime heritage.

The Gilded Age of Ashford: Unveiling the "Royal Cinema de Luxe" Postcard

 There is a specific kind of magic found in the tactile grain of an old postcard. As a collector, I’ve spent years hunting through flea markets and online archives, but few pieces capture the transition from the Victorian era to the age of mass entertainment as elegantly as this latest addition to my collection: The Royal Cinema in Ashford, Kent.

This postcard, part of "The Nevitsky Collection" under the "Lost Empires and Picture Palaces" series (No. 1), isn't just a piece of cardstock; it is a portal to a time when going to the "flicks" was a grand, formal event.

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Royal Cinema, Ashford, Kent

An Architectural Gem in the Heart of Kent

Looking at the front of the postcard, the first thing that strikes you is the building's imposing façade. The Royal Cinema de Luxe, as the marquee proudly proclaims, was a far cry from the utilitarian multiplexes we visit today.

Located on Bank Street in Ashford, this building originally opened its doors in the early 20th century. The architecture captured here shows a fascinating blend of styles. The Dutch-style gabled roofline gives it a regal, almost civic importance, while the arched windows and symmetrical pilasters suggest a classical influence.

If you look closely at the image, you can see the staff standing outside—men in formal caps and suits, looking every bit like the guardians of a high-society establishment. To their right, children linger near the entrance, perhaps captivated by the posters for "Living Pictures." In an era before television and the internet, these walls held the only window to the wider world.

The "Living Pictures" and the Allure of the Screen

The marquee on the postcard features the words "Living Pictures" and "Cinema De Luxe." The term "Living Pictures" (or Tableaux Vivants) was often used in the early days of cinematography to describe the transition from static photography to moving film.

In the early 1910s and 20s, a trip to the Royal Cinema was an immersive experience. You weren't just watching a film; you were accompanied by a live pianist or even a small orchestra that provided the "soundtrack" to the silent reels. The posters visible in the scan hint at the adventurous serials and melodramas that would have drawn crowds from across the Kentish countryside.

Behind the Card: The Nevitsky Collection

The reverse of the postcard reveals its pedigree. It belongs to The Nevitsky Collection, published by Piccadilly Plaza Postcards. For collectors of "Cinema-tiana," this series is highly regarded for its focus on the "Lost Empires"—those grand theaters and music halls that have since been demolished or repurposed.

The serial number A676X and the designation of No. 1 suggest this was a flagship entry in the set. Finding a clean, unposted version of this card is a treat; the lack of a postmark or handwritten message allows us to appreciate the pristine typography and the quality of the sepia-toned print, which has aged into a beautiful, warm biscuit hue.

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The Evolution of the Royal Cinema

While this postcard freezes the Royal Cinema in its prime, history moved on. Like many "Picture Palaces" of its era, the building underwent several transformations:

• The Silent Era: As seen here, it was the pinnacle of local entertainment.

• The "Talkies": The cinema would have had to undergo significant acoustic renovations when sound came to film in the late 1920s.

• The Bingo Era: Like many grand British cinemas, the mid-20th century saw a decline in ticket sales due to the rise of TV, leading many venues to be converted into Bingo Halls.

• The Modern Day: Today, while the "Royal" name lives on in various forms in Ashford's history, the specific grandeur captured in this postcard remains a ghost of Bank Street, reminding us of a time when the building itself was as much a star as the actors on the screen.

Why We Collect "Lost Empires"

People often ask why I collect these specific glimpses of the past. To me, this postcard is a reminder of the social fabric of Kent. The Royal Cinema was a meeting place, a site for first dates, and a source of news during global conflicts.

When you hold this card, you aren't just looking at a building; you're looking at the collective memories of thousands of Ashford residents. It’s a tribute to the architects who believed that even a small market town deserved a "Picture Palace" of its own.

The Checkered Charm of Norfolk: A Glimpse of King’s Lynn Trinity Guildhall

 Vintage postcards serve as more than just souvenirs; they are frozen fragments of local history. This particular card, featuring the striking Trinity Guildhall in King’s Lynn, captures one of the most architecturally unique civic buildings in England. With its distinctive flint chequerboard facade and centuries of stories, the Guildhall stands as a testament to the town's prosperous maritime past.

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Dating the Postcard: Clues from the 1980s

While postcards can sometimes be difficult to pin down, this specific printing provides several vital clues that date it to the early-to-mid 1980s.

• Postal Symbols: The reverse of the card features the "Post Office Preferred" (POP) logo. This standard for machinable mail was introduced by the British Post Office in the late 1960s but became a staple of commercial postcard design throughout the late 70s and early 80s.

• Signage on the Front: In the lower-left corner of the image, you can spot a classic yellow and black road sign indicating the A47. The A47 was rerouted through King’s Lynn in 1935, but the specific style of the directional sign seen here—combined with the "Art Exhibition" board—points to a period before the major pedestrianization and town-centre redevelopments of the late 80s and 90s.

• Production Style: The card was "Printed in Great Britain" and carries a serial number style common among regional publishers like Jarrold or similar firms active in the 1980s.

Based on the combination of the POP logo and the specific street furniture visible, a date of circa 1982–1985 is the most likely window for this photograph.

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The Architecture of the Trinity Guildhall

The Trinity Guildhall is the crown jewel of King’s Lynn's Saturday Market Place. Built between 1422 and 1428, it was commissioned by the Guild of the Holy Trinity—a powerful group of local merchants.

The most recognizable feature is its flint flushwork, a technique where dark, knapped flints are set into mortar alongside light-coloured limestone to create a geometric chequerboard pattern. This style was a flamboyant display of wealth during the medieval period, signalling the town’s status as a major Hanseatic port.

Key Historical Elements:

• The Royal Arms: Look closely at the gable; it features the royal arms of Elizabeth I (added in 1624) and Charles II (added in 1664), representing the building's long-standing connection to the crown.

• The Stone Hall: The heart of the building is the medieval Stone Hall, which still features its original 15th-century oak-beamed ceiling and Ketton stone floor.

• The Old Gaol: Beneath the guildhall lies a darker history. Parts of the undercroft were used as a town gaol (jail) as far back as 1571. Today, visitors can explore these cells as part of the "Stories of Lynn" exhibition.

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A Hub of Civic Life

The postcard also captures a temporary sign for an Art Exhibition, likely held in the Guildhall's Assembly Rooms or the adjacent St. George’s Guildhall complex. King’s Lynn has long been a cultural hub; the Assembly Rooms, added in 1768, have hosted everything from Georgian balls to a visit from Queen Elizabeth II during her Diamond Jubilee in 2012.

Even in this vintage view, you can see how the building serves as the anchor for the town. Whether it was acting as a merchant meeting place, a magistrate's court, or a modern museum, the Trinity Guildhall remains the beating heart of King's Lynn.

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.

The Haunted Beauty of St John’s in the Wilderness: A Postcard Journey to Old Exmouth

 There is a specific kind of magic found in the quiet corners of the English countryside—places where stone, ivy, and history intertwine so tightly that it becomes difficult to tell where man’s work ends and nature’s begins. One such place is the Parish Church of St John in the Wilderness, located just outside Exmouth in Devon.

Today, I’m sharing a beautiful piece from my personal vintage postcard collection. This hand-tinted gem offers a window into the past, capturing the "Wilderness" church in an era of romantic decay and serene isolation.

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Dating the Card: A Glimpse into the Edwardian Era

When collecting vintage postcards, half the fun is playing detective to determine when the image was produced and mailed. While this specific card hasn't been postmarked, several physical clues allow us to pin down its origin with reasonable certainty.

Look closely at the back of the card. It features a "Divided Back," with a vertical line separating the message area from the address. In Great Britain, the Post Office only permitted divided backs starting in 1902. Before this, the entire back was reserved for the address, and any message had to be scribbled on the front around the image.

The typography of "POSTCARD – GREAT BRITAIN & IRELAND" and the specific "Stamp" box design suggest a production date between 1905 and 1915. This was the "Golden Age" of postcards. The hand-tinted colouring on the front—where soft greens and muted reds are layered over a monochrome photograph—is a hallmark of this period, aiming to give the viewer a "technicolour" experience before colour photography was commercially viable.

The Story of St John’s in the Wilderness

The church pictured is officially the Parish Church of St John the Baptist, Withycombe Raleigh, but its evocative nickname, "St John’s in the Wilderness," has been in use for centuries.

The site has been a place of worship since at least the 10th century, but the tower you see in the postcard dates back to the 15th century. By the mid-1700s, the main body of the church had fallen into a state of extreme disrepair. In a move that seems unthinkable today, much of the nave was demolished in 1778, leaving the tower and a small portion of the north aisle standing as a lonely ruin in the middle of the churchyard.

For over a hundred years, it remained in the state seen in this postcard: a romantic, ivy-clad skeleton of a building. It wasn't until the late 19th and early 20th centuries—right around the time this postcard was printed—that restoration work began to bring the church back to life for regular services.

Analyzing the Image: Ivy, Stone, and Silence

The front of the postcard captures the church from the southwest, highlighting the imposing square tower. The "Wilderness" aspect of its name is on full display here.

• The Ivy: The sheer volume of ivy clinging to the tower is breathtaking. In the early 1900s, this "picturesque decay" was highly fashionable. Today, we know that such heavy vegetation can damage ancient stonework, and modern conservationists have since cleared much of it away to preserve the structure.

• The Churchyard: The foreground is dotted with weathered headstones. This churchyard is the final resting place of several notable figures, most famously Lady Byron, the wife of the poet Lord Byron, and Francis Danby, the renowned Irish Romantic painter.

• The Atmosphere: The hand-tinting adds a dreamlike quality. The sky is a pale, washed-out blue, and the grass is a vibrant, impossible green. It evokes a sense of Victorian nostalgia—a longing for a rural England that was already beginning to change with the advent of the motorcar and modern industry.

Why We Collect: The Power of the Postcard

Collecting cards like this isn't just about the cardboard; it's about holding a moment of time in your hands. This postcard was likely sold as a souvenir to a holidaymaker visiting the Devon coast. Exmouth was a burgeoning seaside resort, and a trip out to the "Wilderness" church would have been a popular excursion by carriage or on foot.

When I look at this card, I think of the person who might have bought it. Perhaps they stood in that very churchyard, listening to the same wind through the trees, before heading back to the seafront to write home about their travels.

Visiting St John’s Today

If you visit Exmouth today, you can still stand where this photographer stood. While the "Wilderness" is perhaps a bit less wild now—the church has been beautifully restored and is once again a centre of parish life—the 15th-century tower remains a steadfast sentinel. The ivy is gone, revealing the intricate stonework, but the sense of peace remains.

A Window Into Wartime Yorkshire: The Mystery of the Stainforth Stepping Stones Postcard

 There is a unique magic in holding a vintage postcard. It is a tangible link to a specific moment in time—a brief intersection of a beautiful place, a traveller's thoughts, and the postal service of a bygone era. Today, I’m diving into a recent addition to my collection: a sepia-toned Tuck’s Post Card featuring the iconic Stainforth Stepping Stones in North Yorkshire.

This isn't just a scenic view of the Yorkshire Dales; it is a historical artifact that whispers stories of the Second World War, rural resilience, and the simple joy of a holiday in the hills.

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Dating the Card: Clues from the Stamp and Script

One of the most exciting parts of postcard collecting is playing detective. By looking at the physical cues of this "Raphael Tuck & Sons" card, we can narrow down its history with surprising precision.

• The Postage Stamp: The card features a red 2d (two-pence) George VI stamp. In the UK, the inland postcard rate was increased from 1d to 2d in May 1940.

• The Postmark: While slightly faint, the postmark shows "SETTLE" (the nearby market town) and the date 12 SEP. Though the year is obscured, the context of the message provides the final piece of the puzzle.

• The Evacuee Connection: The handwritten message mentions, "One of the evacuees' mothers have come that makes ten of us altogether..." This firmly places the card during World War II, likely between 1940 and 1944, when the British countryside was a haven for those fleeing urban centres.

Given the 2d stamp and the mention of a large group of evacuees, we are likely looking at a snapshot of life in September 1940 or 1941, during the height of the Blitz when rural villages like Stainforth were bursting at the seams with guests from the cities.

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The Scene: The Stepping Stones of Stainforth

The front of the card shows a classic view of Stainforth, a village nestled in the Ribblesdale valley. The "Stepping Stones" cross the River Ribble, located just a short walk from the famous Stainforth Force waterfall.

In this sepia photograph, the village looks remarkably timeless. We see the sturdy stone cottages with their heavy slate roofs, built to withstand the temperamental Yorkshire weather. The dry stone walls, a signature of the Dales landscape, terrace the background hills.

What strikes me most is the solitude. Today, Stainforth Force and the stepping stones are a magnet for tourists and wild swimmers. In this image, there isn't a soul in sight—just the water rushing over the stones and the skeletal branches of a lone tree. It captures the rugged, quiet beauty that has drawn visitors to the Craven district for centuries.

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The Message: A Glimpse into Wartime Life

The back of the card is addressed to Miss J. Langham at 158 Derby Rd, Long Eaton, Nottingham. The message, written in a graceful, flowing hand, reads:

"Dear Jill and Theo, We are having a lovely time you would love it up here the weather this week is lovely. One of the evacuees' mothers have come that makes ten of us altogether so Eugenie and I have to sleep out. Love Brenda."

This short note is a fascinating social document. While Brenda describes "having a lovely time," she also reveals the logistical realities of the war. Houses in small villages were often overcrowded. "Ten of us altogether" in a Yorkshire cottage would have been a squeeze, necessitating Brenda and Eugenie to "sleep out"—likely in a neighbour's spare room or perhaps a barn.

Despite the global conflict and the cramped living conditions, the tone remains cheerful. It serves as a reminder of the British "Carry On" spirit—finding beauty in the Dales and enjoying the "lovely weather" despite the shadows of war.

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The Legacy of Raphael Tuck & Sons

The card was produced by Raphael Tuck & Sons, arguably the most famous postcard publisher in history. They held a Royal Warrant from Queen Alexandra and were known for their "World’s Art Service" logo.

Tuck’s postcards are highly collectible because of their quality and the sheer variety of their "Oilette" and "Photocrome" series. This specific card is part of their topographical series, documenting the villages of England. Sadly, the Tuck factory in London was destroyed during the Blitz in December 1940, making cards from this specific era even more poignant.

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Why Stainforth Remains a Must-Visit

If you were to stand in this exact spot today, much would remain unchanged. The stepping stones are still there (though often underwater after a heavy rain!). The bridge nearby, built in the 17th century, still stands as a testament to the village's history as a packhorse route.

For those of us who love history, these postcards are more than just paper. They are portals. They allow us to see the world through Brenda’s eyes in 1940—a world where a walk by the river was a precious escape from the anxieties of the front line.

Bridging Time: The Tiny Legend of Ambleside’s Bridge House

 Why would anyone build a house over a stream? Legend has it that the Braithwaite family, who owned the land on both sides of Stock Beck, built the house over the water to avoid paying land taxes. While historians often debate the absolute truth of the "tax dodge" theory, the practical reality of the building is just as fascinating.

Old Bridge House, Ambleside

Built in the late 1600s, this tiny structure measures just two rooms—one up, one down. Despite its diminutive stature, it has served an incredible variety of purposes over the last 300 years:

• A Summer House: Its original intent for the Braithwaite estate.

• An Apple Store: Used to keep fruit cool above the rushing water.

• A Cobbler’s Shop: Providing shoes for the villagers of Ambleside.

• A Tea Room: Welcoming early Victorian tourists.

• A Family Home: At one point, records suggest a family of eight lived within these tiny walls!

Dating the Card: A 1960s Time Capsule

When we look closely at the "Front" of this postcard, we see clues that help us pin down its era. The soft, saturated colour palette is indicative of the photo-chrom printing style popular in the 1960s.

Furthermore, the fashion of the figures walking near the bridge and the glimpse of a classic car further down the road suggest an era of burgeoning post-war tourism. This was a time when the Lake District was becoming increasingly accessible to the "motoring public," and Bridge House became the quintessential "must-see" stop on any Lakeland tour.

The reverse of the card bears the logo of Sanderson & Dixon, a firm that was instrumental in documenting the Lake District through the mid-20th century. Their postcards are highly collectible today because they capture the region during a transition point between old-world rural life and modern tourism.

Architecture of the Fells

The Bridge House is a masterclass in Vernacular Architecture. It is built entirely of local Lakeland slate, likely "rubble-built" with stone gathered from the nearby hills. The roof features heavy "Westmorland Green" slates, which are laid in diminishing courses (larger at the bottom, smaller at the top) to distribute weight effectively.

In the postcard, you can see the sturdy stone arch that supports the entire weight of the house. It is a testament to 17th-century engineering that the building has survived three centuries of Cumbrian floods and the constant vibration of traffic from the adjacent road.

A Legacy Preserved

By the early 20th century, the Bridge House had fallen into disrepair. It was a group of local residents who recognized its value, eventually purchasing it and donating it to the National Trust in 1926.

When this postcard was printed in the 1960s, the house was already a celebrated relic, operating as an information centre (much as it does today). It represents the early success of the conservation movement in the UK, ensuring that even the "smallest" pieces of history are protected for future generations.

Collecting the Lakes

For postcard collectors (deltiologists), items like this "KLD 220" series are wonderful because they represent a specific topographical history. They show us how the surroundings of Bridge House have changed—the growth of the trees, the paving of the roads, and the evolution of the nearby buildings.

Holding this card is like holding a piece of Ambleside itself. It smells of old paper and evokes the sound of Stock Beck rushing beneath the floorboards. It reminds us that while the world speeds up, some things—like a tiny stone house on a bridge—remain steadfast.

Sunlight and Salt Air: Rediscovering Looe, Cornwall Through a Vintage Derek Watson Postcard

 There is a unique magic in the tactile nature of a vintage postcard. It’s a literal piece of history you can hold in your hands—a snapshot of a moment, an artist’s perspective, and a gateway to a specific era. Today, I’m diving into a recent addition to my collection: a beautiful, illustrative postcard of Looe, Cornwall, based on an original painting by the artist Derek Watson.

This isn't just a souvenir; it's a window into the enduring charm of one of Cornwall’s most beloved fishing ports.

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The Scene: Life on the Looe Quay

The front of the card features a vibrant, atmospheric watercolour and ink illustration. The scene captures the essence of East Looe, looking across the harbour toward the rising hills of the town.

What makes this particular artwork stand out is its focus on the "working" nature of the town. In the foreground, we see two sturdy wooden fishing boats resting on the sand at low tide, supported by legs to keep them upright. A lone figure in a red shirt is seen working on one of the vessels—a subtle nod to the generations of fishermen who have made their living from these waters.

The background is a delightful tumble of Cornish architecture. The houses, painted in muted whites, greys, and blues, climb the steep hillside, punctuated by the lush greenery of the Cornish coast. The water in the harbour is rendered with soft reflections, suggesting a calm, bright day. The overall aesthetic is one of peaceful productivity—a town that is as beautiful as it is functional.

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Dating the Card: A Detective Story

One of the most exciting parts of collecting postcards is trying to pin down exactly when they were produced. While this card was never mailed (leaving us without a helpful postmark), the "clues" on the back tell a compelling story.

Based on the publishing information and the graphic design, I would estimate this card dates to the late 1970s or early 1980s. Here is why:

• The Publisher (Chrispdaw): The card was published by "Chrispdaw" at Carwen House Studio in Blisland, Bodmin. Chrispdaw was a prolific publisher of Cornish art postcards during the 70s and 80s, often focusing on local artists.

• The Printer (Dowrick Design & Print): Printed in St. Ives, this company was a staple of the Cornish printing industry during the latter half of the 20th century.

• Typography and Layout: The clean, sans-serif typeface used for the credits on the reverse side is very characteristic of British graphic design from the late 70s. It lacks the ornate flourishes of earlier decades but hasn't yet moved into the digital-heavy aesthetic of the 90s.

• The Artist (Derek Watson): Derek Watson was well-known for his coastal scenes and maritime art. His style in this period perfectly captured the "New Cornish" art movement—accessible, evocative, and deeply rooted in the local landscape.

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The Timeless Appeal of Looe

Looking at this postcard today, it is striking how much—and how little—has changed. If you were to stand in this exact spot in Looe today, the topography would be instantly recognizable. The "Banjo Pier" (partially visible in the artist's rendering) remains the town's iconic landmark, and the tide still retreats to reveal the sandy floor of the harbour where boats wait for the sea to return.

Looe remains a town of two halves: East Looe, with its narrow shopping streets, sandy beach, and bustling quay; and West Looe, reached by a seven-arched bridge or a quick ferry ride, offering a quieter, more residential charm.

For the modern traveller, Looe offers a blend of traditional Cornish heritage and contemporary coastal life. You can still watch the fish market in action or take a boat trip out to Looe Island (St. George’s Island), a natural sanctuary teeming with seals and seabirds.

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Why Collect Postcard Art?

In an age of high-definition smartphone photography, why do we still gravitate toward these illustrated cards?

1. The Artist’s Interpretation: A photo captures reality, but a painting captures a feeling. Watson’s use of light and the slightly exaggerated verticality of the houses gives Looe a storybook quality that a camera might miss.

2. A Record of Change: Postcards document the evolution of shopfronts, the types of boats in the harbour, and even the fashion of the people depicted.

3. Physicality: There is a weight and texture to these cards—the "green tack" marks on the corners of this particular piece show it was once cherished on someone's wall or in an album before finding its way to me.

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Preserving the Past

This Derek Watson piece is a testament to the skill of Cornish illustrators and the timelessness of the South West coast. Whether you are a dedicated deltiologist (a postcard collector) or simply someone who loves the salty air of Cornwall, pieces like this serve as a beautiful reminder of why we fall in love with these places in the first place.

Echoes of Steam: A Journey to Mytholmes Viaduct on the Keighley & Worth Valley Railway

 There is a specific kind of magic found in the tactile nature of a vintage postcard. It isn't just a photograph; it is a frozen moment of social history, a physical link between a traveller’s experience and a loved one’s mailbox. Today, I’m diving into a beautiful piece from my collection: a postcard featuring the Mytholmes Viaduct on the legendary Keighley & Worth Valley Railway (KWVR).

This isn’t just a scenic shot of a train; it’s a window into the "Brontë Country" of West Yorkshire, carrying a personal message that helps us pinpoint a specific era of British rail preservation and domestic travel.

Mytholmes Viaduct, Keighley and Worth Valley Railway

The Scene: Mytholmes Viaduct and USATC 2-8-0 No. 5820

The front of the postcard captures a powerful image of industrial heritage set against the rolling, verdant hills of the Worth Valley. The locomotive at the head of the train is instantly recognizable to rail enthusiasts: the USATC S160 Class 2-8-0 No. 5820.

Affectionately known by enthusiasts as "Big Jim," this locomotive has a fascinating history. Built by Lima in the United States in 1943 for the war effort, it eventually found its way to the KWVR in the late 1960s. In this image, we see it in its grey "transportation" livery, crossing the Mytholmes Viaduct. The viaduct itself sits at the picturesque confluence of the River Worth and Bridgehouse Beck, positioned between the stations of Oakworth and Haworth.

Behind the locomotive, the train consists of vintage carriages, likely "Suburban" stock, trailing steam into the Yorkshire sky. In the background, the looming presence of a traditional Yorkshire textile mill serves as a reminder of the industry that originally built these valleys and the railways that served them.

Dating the Moment: When was this sent?

Dating a postcard involves a mix of postal evidence and visual clues. Let’s look at the "detective work" for this piece:

1. The Stamp: The postcard features a light green 12½p Machin stamp. In the UK, the 12½p rate for first-class inland letters (and postcards) was introduced in January 1981 and lasted until February 1982.

2. The Postmark: While slightly faint, the circular date stamp (CDS) shows a "27" and "JUL" (July). Given the stamp price, this points strongly to July 27, 1981.

3. The Content: The message mentions a "thunderstorm" following a trip to Haworth and the railway. A quick look at historical weather records for West Yorkshire often reveals stormy summers during the early 80s, fitting the narrative perfectly.

Based on the 12½p stamp and the 1981/82 rate window, we can confidently date the mailing of this card to July 1981.

A Message from the Past: "Sampled the K&WVR Today"

The reverse of the card contains a charming, handwritten note from "Mum and Dad" to Mr. Nigel Thomas in Sevenoaks, Kent. It reads:

"Dear Nigel. Sampled the K&WVR today, but not before we did the Brontë culture bit at Haworth. Still hot, but got a bit damp in a thunderstorm just as we got back from our railway trip. Save the card for Douglas to see – we thought he would like it. Love from Mum + Dad."

This short note perfectly encapsulates the quintessential British summer holiday in the 1980s. Haworth, famous for the Brontë Parsonage Museum, remains a "culture" staple, while the KWVR provides the nostalgic "sample" of steam travel. The mention of "Douglas" suggests a child or perhaps a fellow rail enthusiast who would appreciate the technical prowess of No. 5820.

The Significance of the Keighley & Worth Valley Railway

The KWVR is one of the most famous heritage railways in the world, largely thanks to its starring role in the 1970 film The Railway Children. By the time this postcard was sent in 1981, the railway was firmly established as a premier tourist destination.

The Mytholmes Viaduct, where this photo was taken, is a favourite spot for photographers. It represents the engineering challenges of the Victorian era, where stone arches were required to span the steep, erratic becks of the Pennines. Seeing a massive American-built locomotive like the S160 traversing this English landscape highlights the wonderful "melting pot" of history that preserved railways represent.

Why We Collect

Postcards like this are more than just paper; they are survivors. This card travelled from the rainy hills of Keighley to the "Garden of England" in Kent, survived over forty years in a collection, and now serves as a digital record of a summer day in 1981. It reminds us of a time when we communicated through ink and stamps, and when the whistle of a steam engine was the highlight of a family holiday.

Whether you are a railway enthusiast (a "basher" or a "spotter"), a local historian, or a collector of "deltiology" (postcard collecting), this piece from the Mytholmes Viaduct is a beautiful tribute to the enduring power of steam.