A Window into the Past: The "Photo-Brown" Charm of Nefyn

 There is a specific kind of magic found in the tactile nature of vintage ephemera. As a collector, few things are as satisfying as unfolding a Valentine’s Letter Card. These weren't just postcards; they were miniature, foldable galleries of a traveller’s journey. Today, we’re looking at a beautiful "British Production" from my collection: a 6 View Letter Card of Nevin (now more commonly spelled in the Welsh, Nefyn), nestled on the stunning Llŷn Peninsula in North Wales.

Produced in a rich, sepia-toned "Photo-Brown," this set captures a moment when Nefyn was asserting itself as a premier destination for those seeking rugged beauty, sea air, and the burgeoning social prestige of the golf links.

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The Aesthetic of "Photo-Brown"

Before we dive into the locations, let’s talk about the medium. The "Photo-Brown" process used here was a popular choice for Valentine & Sons, the famous Dundee-based printing giant. By using a monochromatic sepia palette rather than full colour or standard black-and-white, the publisher achieved a sense of warmth and "heritage" even when the photos were contemporary.

The letter card itself is an ingenious design. For the price of a halfpenny stamp (if left unsealed), a visitor could send six distinct views and a short message home. If they had more to say—perhaps about a particularly challenging bunker on the golf course—they could seal it up for a penny-halfpenny.

Exploring the Six Views

The images selected for this card provide a comprehensive "tourist's eye view" of Nefyn and its sister village, Morfa Nefyn.

1. The Two Bays, Nevin: This sweeping aerial-style shot shows the unique geography of the area, where the town sits perched between the Great and Little Bays. You can see the dense clusters of stone houses and the organized strips of farmland stretching toward the sea.

2. Golf Links, Nevin: Perched on the dramatic headland of Porthdinllaen, this course is world-famous today. Here, we see it in its earlier years. The figures on the green, dressed in what appears to be traditional early 20th-century sporting attire, emphasize the area’s transition from a fishing hub to a leisure destination.

1. Nevin Bay & Rivals: This view looks eastward toward the dominant peaks of Yr Eifl (The Rivals). The jagged silhouettes of these mountains provide a dramatic backdrop to the soft curve of the coastline.

2. Nevin Beach: A classic seaside study. The tide is out, revealing a vast expanse of sand dotted with holidaymakers. You can just make out the small bathing huts or structures at the foot of the cliffs, a staple of the British seaside experience.

1. Nevin From Across the Bay: This view highlights the verticality of the village. The houses of Morfa Nefyn seem to cling to the cliffside, with winding paths leading down to the water's edge.

2. Cliff Walk, Morfa Nevin: My personal favourite. It captures the rugged, overgrown path toward Porthdinllaen. It invites the viewer to imagine the wind whipping off the Irish Sea and the scent of gorse in the air.

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Dating the Collection: A Philatelic Clue

One of the most frequent questions I get is: "How do you know when it was made?" Without a postmark, we have to become detectives.

The most significant clue lies on the back of the envelope: "Postage 1½d.—If stuck down and used as letter."

In the United Kingdom, the inland letter rate rose from 1d to 1½d in June 1920. It remained at this price until 1922, briefly dropped, and then fluctuated throughout the interwar period. However, the specific combination of the "Photo-Brown" branding and the typography suggests a publishing date in the mid-to-late 1920s. The serial numbers on the images (ranging from 84000 to 210000) also align with Valentine & Sons’ cataloguing system from the post-WWI era.

There is a settled, peaceful quality to these images that captures the "Long Garden Party" atmosphere of the 1920s, before the Great Depression and the subsequent modernization of the 1930s changed the face of domestic tourism.

Why Nefyn Still Matters

Looking at these images today, what is most striking is how much has not changed. While the cars on the roads are different and the "bathing machines" are gone, the silhouette of The Rivals remains unchanged. The Ty Coch Inn (likely visible as a small speck in the Porthdinllaen views) still serves pints to weary walkers.

This letter card is more than just cardstock and ink; it’s a time capsule of Welsh coastal life. It represents a period when the Llŷn Peninsula was a hidden gem, accessible by rattling trains and early motorcars, offering a "Photo-Brown" escape from the industrial smoke of the cities.

Coastal Nostalgia: Uncovering the Vintage Charm of Lydstep Haven

 There is a specific kind of magic found in the tactile surface of a vintage postcard. It’s a portal to a specific moment in time—a "wish you were here" captured in ink and lithograph. In my collection, a recent standout is this beautiful view of Lydstep Haven, a limestone-shrouded gem nestled on the Pembrokeshire coast of Wales.

Framed by the rugged silhouette of overhanging oak branches, the image looks out across the turquoise waters of the Bristol Channel toward the dramatic limestone cliffs that define this stretch of the Pembrokeshire Coast National Park. To look at this card is to feel the salt air of a mid-century British summer.

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Dating the Card: A Philatelic Detective Story

One of the joys of postcard collecting is "reading" the back of the card to determine its age. While this specimen was never mailed (meaning we don’t have a postmark date), the physical clues speak volumes.

The "Post Office Preferred" Logo The most telling detail is the "Post Office Preferred" (POP) symbol in the stamp box. This logo, featuring an envelope within a square, was introduced by the British General Post Office (GPO) in 1968. It was part of a campaign to standardize envelope and card sizes to accommodate new automated sorting machines.

The Printing Style and Serial Number The front of the card features the high-saturation, slightly grainy colour palette typical of Photo-Precision Ltd. or similar large-scale British printers of the era. The serial number PT23805 on the reverse is a classic identifier for cards produced in the late 1960s to mid-1970s.

The Verdict: Given the typeface and the specific "Post Office Preferred" branding, this postcard likely dates from between 1969 and 1974. It represents the golden era of the British seaside holiday, just before cheap Mediterranean air travel became the norm.

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The View: Lydstep Haven’s Rugged Majesty

The photograph captures the eastern end of the bay, dominated by the towering limestone stack known as the Proud Giltar. In the foreground, we see a couple standing on the grassy verge, a pair of green canvas deckchairs nearby. It’s a scene of quiet contemplation that feels worlds away from the bustling modern caravan parks that now overlook parts of the haven.

Lydstep Haven is famous for its caverns and blowholes. At low tide, the base of those very cliffs seen in the postcard reveals sea caves that have been carved out over millennia by the Atlantic swell. For the traveller of the 1970s, Lydstep offered a sense of "wild Wales"—a place where you could find a secluded spot beneath the cliffs and feel like the first person to discover the bay.

Why Lydstep Haven Remains a Must-Visit

If you were to stand in the same spot today where this photographer stood fifty years ago, much of the natural majesty remains unchanged. Pembrokeshire is protected by National Park status, ensuring that the dramatic profile of the cliffs stays as pristine as it appears on this card.

1. The Coastal Path: The Pembrokeshire Coast Path runs right through Lydstep. It offers some of the most spectacular hiking in the UK, with the "limestone corridor" between Lydstep and Tenby being a particular highlight.

2. Wildlife: The cliffs shown in the card are a haven for razorbills, guillemots, and even the occasional peregrine falcon.

3. The History: Nearby, you can find the ruins of a medieval palace (Lydstep Old Palace), adding a layer of historical mystery to the natural beauty.

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The Art of the Postcard

There is something deeply intentional about the composition of this card. The photographer used a classic "natural frame" technique, using the dark, textured branches of a tree to draw the viewer’s eye toward the brightly lit cliffs and the sea. This wasn't just a snapshot; it was a carefully constructed piece of travel marketing designed to sell the dream of the Great British Summer.

In an age of instant Instagram uploads, holding this physical artifact reminds us of a slower pace of communication. In the 1970s, you would buy this card at a local village shop, spend an evening writing about the "lovely weather" and "biting cold sea," and drop it in a red pillar box, knowing it might not reach its destination until after you had returned home.

Preserving the Past

As a collector, I often wonder about the people in the photograph. Are they still around? Do they remember that specific afternoon by the cliffs? Postcards are more than just stationery; they are fragments of social history. They document how we dressed (the lady’s red trousers are a classic 70s touch), how we spent our leisure time, and how we viewed the landscape.

Lydstep Haven continues to be a destination for those seeking beauty and tranquillity. While the deckchairs might be plastic now instead of canvas, and the cameras are digital instead of film, the draw of the limestone cliffs and the blue horizon remains eternal.

Across the Menai: A Mid-Century Postcard Tale from Surbiton to North Wales

 There is a unique magic in holding a piece of history that was once tucked into a post box on a breezy Welsh afternoon. This latest addition to my collection—a vibrant "Cotman-Color" series postcard—captures more than just a famous landmark; it captures a moment of mid-century leisure, a family's awe at British engineering, and the enduring charm of the "wish you were here" tradition.

Whether you are a dedicated deltiologist (a collector of postcards) or a fan of Welsh history, this particular artifact offers a wonderful deep dive into the 1950s or 60s era of British domestic tourism.

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The Menai Bridge, Anglesey

The View: Thomas Telford’s Masterpiece in Technicolor

The front of the postcard features a stunning, high-angle view of the Menai Suspension Bridge, titled simply "THE MENAI BRIDGE" in a clean, sans-serif font at the bottom left. The image is a classic example of the Jarrold & Sons Ltd printing style, known for their "Cotman-Color" series based in Norwich, England. These cards were famous for their saturated, painterly quality that made the British landscape look like a vivid dream.

In this frame, we see the bridge stretching elegantly across the Menai Strait, connecting the mainland of North Wales to the Isle of Anglesey. The composition is particularly peaceful:

• The Bridge: You can see the rhythmic limestone arches supporting the approach and the long, sweeping suspension chains that were a marvel of the early 19th century.

• The Water: The Strait is a deep, reflective blue, with gentle ripples in the foreground near a small white yacht moored on the right.

• The Shoreline: On the left, a charming stone building with a green upper story sits right at the water's edge, surrounded by lush, dense summer greenery.

Looking at this image, it is easy to see why the senders described the scene as "very impressive". Even today, nearly 200 years after its completion in 1826, the bridge remains a titan of civil engineering.

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The Message: A Snapshot of a Family Holiday

Turning the card over reveals the personal side of this historical fragment. The handwriting is neat and confident, written in blue ink that has held its colour remarkably well over the decades.

The message is addressed to a Mr. H. F. Welham at 7 Surbiton Hill Rd, Surbiton, Surrey. Surbiton, a leafy suburb of London, was (and is) a world away from the rugged coastline of North Wales. For Mr. Welham, receiving this card would have been a colourful reminder of his friends’ adventures far to the north.

The note reads:

"Dear Mr. Welham, We are enjoying a holiday in North Wales this year, we have been across to Anglesey via the Menai Bridge today, very impressive. We do hope you are keeping well, Best Wishes from Grace & Ted Collins. Ken & Geoffrey."

This short note tells a quintessential story of the British touring holiday. In the post-war era, as car ownership increased, families like the Collins would pack up their vehicles and head to the coast or the mountains. Crossing the Menai Bridge wasn't just a logistical necessity; it was an event—a highlight of the trip that warranted a report back to friends in Surrey.

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Dating the Artifact: Stamps and Postmarks

As collectors, we often play detective to find the exact "when" of a card. This piece offers several clues:

1. The Stamp: The card bears a purple 3d (three-old-pence) stamp featuring the young Queen Elizabeth II. This is part of the "Wilding" series, which was the standard definitive stamp from 1952 until the late 1960s.

2. The Publisher: Jarrold & Sons Ltd of Norwich began their "Cotman-Color" series in the 1950s. The style of the logo and the typography suggests this is likely from the late 50s or early 1960s.

3. The Postmark: While the date is partially obscured, the sorting office is visible as CAERNARVON (the English spelling of Caernarfon used during that period). The time is marked as 11 AM.

Based on the 3d postage rate and the stamp design, we can safely place this card in a time when the British seaside and mountain resorts were at the height of their popularity, before the dawn of cheap Mediterranean package flights changed holiday habits forever.

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Why the Menai Bridge Matters

The bridge shown on this card is more than just a pretty picture; it is a monument to the Industrial Revolution. Designed by Thomas Telford, it was the first major suspension bridge in the world.

Before it opened, travellers to Ireland had to brave the dangerous currents of the Menai Strait by ferry to reach Holyhead. Telford’s bridge allowed the "Irish Mail" coaches to cross safely and quickly. By the time Grace and Ted Collins drove across it in their car, the bridge had already survived over a century of North Welsh weather and had been significantly renovated in the 1940s to handle the weight of modern traffic.

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Preserving the "Small Histories"

I often wonder who Grace, Ted, Ken, and Geoffrey were. Were they a family? Perhaps Ken and Geoffrey were their sons, experiencing the scale of the Menai Strait for the first time. This postcard is a "small history"—a record of a single happy day in the lives of ordinary people, preserved on a piece of cardboard.

For those of us who collect, these cards are a way to touch the past. They remind us that while technology changes—from the suspension chains of 1826 to the digital images of today—our desire to share our experiences with those we care about remains constant.

Engineering Marvels and Seaside Greetings: The Menai Suspension Bridge

The beauty of a postcard collection lies in its ability to transport us through time and space with just a flip of a card. My latest acquisition does exactly that, moving from the sun-drenched ruins of Sicily to the rugged, mist-swirled coastline of North Wales. This particular gem is a classic Valentine’s "Gravuretype" postcard featuring the majestic Menai Suspension Bridge.

Menai Suspension Bridge, Anglesey

A Masterpiece of the Industrial Age

The front of the postcard presents a striking view of Thomas Telford’s engineering masterpiece, the Menai Suspension Bridge, which spans the Menai Strait between the island of Anglesey and mainland Wales. Completed in 1826, it was the first modern suspension bridge in the world, designed to carry the heavy Irish Mail coaches safely across the treacherous waters.

In this specific "Gravuretype" print, the bridge’s massive stone arches and elegant iron chains are captured with wonderful depth and texture. A paddle steamer chugs along the water below, its smokestacks trailing dark plumes into the sky, perfectly illustrating the bustling maritime life of the Menai Strait during the early 20th century. The foreground shows a stone-walled embankment, perhaps a small pier or garden, adding a sense of human scale to the towering structure.

A Personal Connection: The Message from Colwyn Bay

While the front celebrates a triumph of engineering, the reverse side provides a charmingly human perspective. Postmarked in Colwyn Bay at 8:30 PM on August 27, 1929, the card was sent to a Miss F. Rothera at Prospect House in Sowerby Bridge, Yorkshire.

The handwritten message is a warm, informal dispatch that perfectly captures the spirit of a 1920s summer holiday:

"Dear June, How are you? We are having a lovely time, the sea is gorgeous. Remember me to your mother and dad. Love from Aunt Dorothy and Uncle Jeremy."

It is a lovely reminder that for many, these postcards weren't just about the landmarks; they were a way to share a moment of joy with family back home. Dorothy and Jeremy were enjoying the "gorgeous" Welsh sea and wanted to send a little piece of that experience to June in Yorkshire.

The Era of the "Gravuretype"

This card is part of the famous Valentine’s Series, a powerhouse in the postcard industry during this era. The "Gravuretype" process used here was a high-quality printing method that produced rich, detailed images resembling photographs but with the soft, artistic quality of an engraving. By 1929, the postcard boom was still in full swing, though it was evolving from the frantic "text messages" of the Edwardian era into a more leisure-focused tradition of holiday greetings.

Why This Card Matters

Holding this piece of history, I am struck by the layers of time it represents. There is the ancient geological power of the Menai Strait, the 19th-century innovation of Telford’s bridge, the 1920s leisure culture of Aunt Dorothy and Uncle Jeremy, and finally, its place in my own collection nearly a century later.

It reminds us that even as technology changes—from paddle steamers to modern cars, and from handwritten cards to instant digital photos—our desire to reach out to loved ones and say "wish you were here" remains unchanged.

Te Cymreig: A Vintage Welsh Tea Party by the Sea

 Today, I’m sharing a favourite piece from my collection that perfectly encapsulates the romanticized image of Wales in the mid-20th century: a brightly illustrated postcard titled "Welsh Tea Party" (or Te Cymreig). It’s a colourful, charming scene that contrasts beautifully with the very practical message written on the back.

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Te Cymreig - Welsh Tea Party

The Front: Tradition and Tranquillity

The illustration is rich in traditional Welsh iconography, clearly designed to appeal to tourists and promote a nostalgic view of the country:

• The Dress: Three women are depicted wearing the famous traditional Welsh costume—the tall black hat, the full skirt, the checked apron, and a striking red shawl or cloak. This outfit, established in the 19th century, was a powerful symbol of Welsh national identity, particularly for tourism.

• The Setting: They are enjoying tea near a stone cottage beside a tranquil body of water, likely a lake or a calm coastal bay. The setting suggests peace and rural tradition.

• Local Crafts: Notice the spinning wheel prominent in the foreground. This highlights the region's heritage of wool production and traditional crafts.

The Message: Llandudno in 1951

The reverse side, published by Valentine & Sons Ltd., Dundee and London, carries a postmark dated 9 APR 1951 from Llandudno, Caernarvonshire. This anchors the card firmly in the post-war era of British domestic holidays.

The message, addressed to The Misses Bowden in Surbiton, Surrey, is written from a holidaymaker who seems to be experiencing a rather mixed bag of weather:

"Can you remember... I went there this morning. I came up to the Carnarvon this afternoon. The sea is just below my bedroom window and very rough. My love to Mummy, Daddy and Marjorie."

The Contrast of Reality

The message creates a wonderful contrast with the idyllic image:

• The View: The writer is staying somewhere with a prime view—"The sea is just below my bedroom window"—suggesting a classic seaside guesthouse in Llandudno.

• The Weather: The sea is described as "very rough," suggesting a brisk, possibly cold, spring holiday—a dose of reality against the sunny, timeless scene on the front.

• The Excursion: The mention of going up to "The Carnarvon" (likely Great Orme in Llandudno) is a classic tourist itinerary item, showing the holiday was focused on local landmarks.

This card is a charming window into a 1951 Easter holiday: an illustrated fantasy of Welsh tradition sent from a very real, slightly wind-blown day trip to the coast of North Wales.

Castles, Dragons, and Coastal Routes: Mapping Out Mid-Century West Wales

I'm excited to share one of the most colourful pieces in my collection: an illustrated map postcard of West Wales! This card, published by Judges Postcards Ltd., Hastings, England, is a perfect example of mid-century tourist art, designed not just to send a greeting, but to sell the romance and history of a destination.

West Wales Map

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The Front: A Whistle-Stop Tour of Pembrokeshire and Carmarthenshire

The map covers the counties of Pembrokeshire and Carmarthenshire, stretching from Cardigan Bay in the north to Swansea and the Gower in the south.

• Iconography: The map is packed with charming, detailed illustrations of key attractions:

  • Castles: The region’s deep history is highlighted with numerous castles: Kidwelly, Laugharne, Pembroke, Carew, Cilgerran, and Paxton's Tower. These are depicted with colourful flags flying high, ready for visitors.

  • The Welsh Dragon: The famous Red Dragon (Y Ddraig Goch) dominates the upper right, symbolizing the nation's pride.

  • Culture: A figure in traditional Welsh dress stands prominently in the center of the map, representing local culture.

  • Coastal Focus: The importance of the sea is shown with illustrations of Milford Haven, St. Davids Cathedral, and a passenger steamer sailing toward Rosslare.

• The Roads: The main roads are marked in thick red lines, giving the map a clear, easy-to-follow layout that speaks to the rise of car travel for holidays in the post-war era.

The Context: The Rise of the Holiday Route

Although the back of the card is unused, the style strongly suggests a print date in the 1960s or 1970s. This period saw a boom in UK domestic tourism, and this map postcard served several functions:

1. Souvenir: It acts as a comprehensive memento of a driving tour or holiday in the region.

2. Marketing: It visually markets the area, quickly showing off the abundance of things to see, from the rugged coast to the historical sites.

3. Educational: It simplifies the geography, making the rich history of West Wales accessible to the average tourist.

This postcard is a bright, nostalgic reminder of how we used to explore, relying on brightly coloured maps and the promise of ancient castles around every bend in the road. It’s a small, perfect piece of Welsh tourism history!

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.