The Quiet Charm of "The Cottage by the Sea"

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

The Scene: A Glimpse into Coastal Life

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

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

Behind the Card: Scholastic Production Co.

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

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

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

Dating the Postcard

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

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

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

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

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

A Collector's Note

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

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 Pink Dress and the Promise of Summer: A Postcard Mystery

 I found her tucked away in a dusty old box of postcards—a forgotten face from a century ago, brought back to life by the delicate tinting of a bygone era. She is a perfect piece of nostalgia, capturing the soft, romantic style that flourished just before the world changed forever.

Women Reclining in a Vintage Pink Dress

The Whisper of 1912

Looking at her dress, the date becomes clear. We are seeing the twilight of the Edwardian era and the dawn of modern styles.

Her dress is not the tightly corseted, high-necked silhouette of the Victorian age. Instead, it’s a beautifully simple, flowing garment—a tea dress or perhaps an early form of a lounging robe. The high waist, cinched by a bold pink ribbon, and the simple column skirt reflect the influence of Orientalism and the new, freer styles championed by designers like Paul Poiret. The large buttons running down the front are a practical, stylish detail of the time.

She is the picture of a young woman embracing a new, more relaxed femininity.

A Seaside Soliloquy

The inscription on the original card, "relax-sea," hints at the context. This isn't a formal studio portrait, but a casual picture taken during a vacation or leisure time.

The Story She Tells Me:

Let's call her Evelyn.

Evelyn hated the fuss of her traveling clothes. All that heavy wool and stiff tailoring felt like a cage. When her mother insisted on a "proper photograph" during their seaside holiday—perhaps in Brighton or Bournemouth—Evelyn slipped away.

She found a quiet corner of the pavilion, where the photographer, a young man with a modern eye, was setting up for relaxed, artistic portraits. She wore her favourite pink dress—the soft, simple cotton drill that felt like air against her skin.

“A little less formal, if you please, miss,” the photographer murmured.

Evelyn threw herself down on the painted backdrop, kicking one leg out in a playful defiance that would have been unthinkable a generation earlier. She loosened the collar, letting her thick, loosely curled hair spill forward, and fixed the camera with a direct, wistful gaze. She was no longer a proper young lady; she was simply Evelyn, enjoying the moment.

The photographer knew he had captured something special—not just a face, but a feeling: the quiet confidence of a new decade, full of sunshine and possibility.

A Tint of Time

The final postcard, hand-coloured with the era's signature technique, added the final artistic touch. The faint pink on her cheeks and the shocking dash of magenta on her ribbon turn a simple photograph into a dreamlike vision.

Looking at Evelyn now, I feel a pang of connection to that bright, fleeting moment just before the shadow of 1914 fell across Europe. She captured her summer promise on a simple postcard, and a century later, it still speaks of effortless beauty and the precious simplicity of a sunny day by the sea.

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 Birthday Mystery: Postcard Sent "From Us Both"

This postcard is a wonderful example of the artistic and elaborate designs popular in the Edwardian era and immediately preceding it. It is a true piece of sentimental art, though the simple, brief message leaves us with a lovely little mystery.

Vintage "Birthday Greetings" Postcard with Portrait and Vase

The Image: Birthday Greetings

The front is a colourful, composite design that combines a floral still-life with a portrait:

• Design: The background appears to be a textured, grey wall. A large, ornate metallic vase holding a bouquet of pink and white roses stands on a ledge.

• The Portrait: Set into a circular frame on the wall is a hand-coloured photographic portrait of a young woman with a classic, voluminous hairstyle and a dark shawl.

• The Message: Across the top, in elegant gold script, are the words: "Birthday Greetings. Best wishes for Peace, Health And Prosperity."

• Style: This style of postcard, where a portrait is integrated into an artistic setting, was very popular around the early 1900s. The detail, like the roses spilling out of the frame and down the base, is exquisite.

The Message: "With Love and Best Wishes From Us Both"

The back of the postcard is an undivided back (meaning it has no line separating the address and message, typical of postcards before 1902 in the UK, but common for a period after in other countries, or simply a style choice).

The message is brief, elegant, and perfectly suited for a heartfelt greeting:

"With love and best Wishes from us Both."

The sender's signature is just "B.th."

A Note on the Mystery

The most intriguing part is the simple signature, "B.th." Who is "B.th."? And who is the unnamed person in the portrait?

• The Sender: Could "B.th." stand for Beth? Or perhaps Bartholomew?

• "From Us Both": This phrase suggests two people sent the card—perhaps a couple, a parent and child, or two friends. The simple signature may represent just one of them, or a combined initial.

• The Recipient: Since there is no address on the back, we don't know who received the card, or when it was sent, though the "PHILCO SERIES" marking may offer a clue to the publisher.

This card is a sweet reminder that even the briefest message can leave the largest impression, making us wonder about the people who sent and received this beautiful birthday wish over a century ago.