A Seaside Secret: Decoding a Vintage Postcard from Blackgang Chine

The humble postcard—a fleeting communication, often dashed off in a moment of seaside delight—is a treasure trove of historical snapshots. Today, we're holding one such treasure: a vintage card featuring the dramatic cliffs of Blackgang Chine on the Isle of Wight, paired with a charming, personal message.

Let's dive in and see what secrets this century-old correspondence holds.

Part I: The Postmark & Dating the Card

To get a precise date, we can analyse the stamp and the faint postmark details:

1. The Stamp

The stamp is a King George V Halfpenny green definitive stamp. This particular design, featuring the King's profile, was in use for a long period, but the 'Halfpenny' value places it generally within the years where that rate was standard for postcards. The design shown, often referred to as the 'George V Head', was first issued around 1912.

2. The Postmark

The visible part of the postmark clearly shows "TUNBRIDGE WELLS" (or possibly "TUNBRIDGE W[ells]") and a date that includes "NOV" and a visible "2" in the year slot (though this is less certain). The stamp itself has a faint cancellation mark showing a date of "NOV 2 19[xx]".

Considering the style of the script, the postcard format, and the King George V stamp, a likely window for this card is the 1910s or 1920s. Given that the postcard is often a brief holiday note, the "NOV 2" date suggests it was mailed after a visit, perhaps a late autumn break or a trip related to the writer's work.

Part II: The Image – Blackgang Chine

Blackgang Chine is famous as the UK's oldest amusement park, established in 1843. However, the photograph here focuses on the natural drama of the chine (a steep coastal ravine).

The image shows a wild, rugged landscape with clear, dramatic erosion of the soft sandstone and clay cliffs. Note the stepped pathways and wooden railings snaking up the slope. This is typical of Blackgang Chine's early appeal, where visitors were drawn not by dinosaurs and theme rides, but by the sheer, imposing geology and the Victorian fascination with the sublime and sometimes dangerous coastline. The chine is notoriously prone to landslips, and this picture perfectly captures its imposing and ever-changing nature.

Part III: Decoding the Message

The message, addressed to "Dear Mum" (or perhaps "Dear Nunn", though "Mum" is more likely for the time), reveals a fascinating personal story:

• The Writer's Location: The writer is clearly away from home and is posting the card from Tunbridge Wells.

• A "Busman's Holiday"? The key phrase is, "I have been playing in the Band at a large Hospital and had a lovely time." This suggests the writer is a musician who may have travelled to Tunbridge Wells to perform for the patients at a large military or convalescent hospital. The use of "lovely time" indicates a positive experience despite the context of a hospital.

• The Missing Man: The writer mentions not having seen a friend or relative named "Harry" yet. The reason for this delay is intriguing: "He has been up to see me in a bit of a rush and was got in so he must wait till I have time to run up and see him again." This is a little unclear but likely means Harry was busy, perhaps with his own duties or work, and the writer was busy with the band, forcing a delay in their meeting.

• The Recipient: The card is addressed to:

  • Mrs Tanner

  • 62A London Rd

  • W Croydon, Surrey

The detail of "62A" is important, as it suggests the Tanners may have lived in a specific flat or a property divided for multiple occupancy, a detail that could allow a genealogist to precisely locate the family.

The Conclusion: A Glimpse of Sacrifice

This postcard, despite its brief nature, paints a vivid picture. It captures a moment of respite and personal connection during a time likely marked by collective sacrifice. If this card dates to the 1914–1918 (WWI) period, the "large Hospital" could very well have been a military hospital or convalescent home treating wounded servicemen, making the band's performance an act of patriotic morale boosting. The sender's cheerful tone about having a "lovely time" is a testament to the resilience and spirit of the era.

This little card, though traveling only from Kent to Surrey, carries the echoes of a dramatic Isle of Wight coastline and a touching moment of service.

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The Untamed Beauty of Carter Bar: Where England Meets Scotland

Nestled amidst the rolling hills of the Cheviots, high in the wild expanse of Northumberland National Park, lies a place steeped in history, breathtaking views, and an undeniable sense of raw, untamed beauty: Carter Bar.

More than just a point on a map, Carter Bar is a symbolic gateway, marking the exact spot where England bids farewell and Scotland extends a welcoming embrace (or vice-versa, depending on your direction of travel!). For centuries, this strategic mountain pass has witnessed countless tales – from fierce border reivers and warring clans to the peaceful passage of travellers seeking new adventures.

A Panoramic Welcome to Scotland

Driving north on the A68, the ascent to Carter Bar is a journey in itself. As you climb, the landscape gradually transforms, opening up to ever-more spectacular vistas. Then, you arrive.

On one side, the Saltire of Scotland proudly flutters, while on the other, the St. George's Cross of England stands sentinel. Between them, a stone cairn marks the precise border. But it's the view that truly captures the soul. Looking out across the vast, undulating moorland, often swathed in a vibrant purple haze of heather during late summer, you feel an incredible sense of scale and wilderness.

Echoes of a Turbulent Past

Today, Carter Bar is a peaceful, popular stopping point for tourists. However, its history is anything but tranquil. For centuries, the Anglo-Scottish border was a lawless land, a battleground where the "Border Reivers" – notorious raiders from both sides – wreaked havoc, stealing cattle and clashing in bloody skirmishes. The very landscape seems to whisper tales of these turbulent times. You can almost imagine the clang of steel and the thundering hooves of horses echoing across these very hills.

While the conflicts are long past, the distinct identities of both nations remain strong, making the border crossing a tangible experience.

More Than Just a View: What to Do at Carter Bar

Even if you're just passing through, a stop at Carter Bar is highly recommended.

• Soak in the Views: Take your time to absorb the magnificent panoramic scenery. On a clear day, you can see for miles across both English and Scottish terrain.

• Photo Opportunities: Naturally, the border marker with the flags provides an iconic backdrop for photographs. Get a picture with one foot in England and one in Scotland!

• Visitor Information: There's usually a small mobile shop or visitor information point where you can grab a warm drink, a snack, and perhaps a souvenir to commemorate your visit.

• Continue Your Journey: From here, you can choose to delve deeper into the Scottish Borders or continue your exploration of Northumberland.

Planning Your Visit

• Location: Carter Bar is located on the A68 road, approximately 8 miles north of Byrness, England, and 12 miles south of Jedburgh, Scotland.

• Accessibility: There's a free car park right at the viewpoint.

• Weather: Be prepared for all types of weather, even in summer. It's an exposed location, so wind and rain are not uncommon. Layers are always a good idea!

Whether you're a history buff, a nature lover, or simply passing through on a road trip, Carter Bar offers a memorable experience. It's a place where the grandeur of the landscape meets the echoes of history, and where two proud nations meet in a stunning embrace. So next time you're traversing the Anglo-Scottish border, make sure to pull over, take a breath, and truly appreciate the untamed beauty of Carter Bar.

I took the pictures below with a Polaroid is2132 camera on the 21st February 2014, clicking any of them should open a link in another window to my Colin Green Photography store on Zazzle.

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Bridging the Past: An Archival Look at Shrewsbury's English Bridge

 There’s a certain thrill in acquiring a random box of old 35mm slides—you never know what little piece of forgotten history you might uncover. Recently, this striking image of the English Bridge in Shrewsbury caught my eye. It's a beautifully composed shot, capturing the bridge's classic stonework and the distinctive spires of the town rising beyond the River Severn.

Let's dive into the history of this iconic landmark and see if we can use the photograph itself to determine when this particular moment was frozen in time.

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The History of the English Bridge

The English Bridge is a major gateway into the historic loop of Shrewsbury town centre, and its history is a long and winding one, mirroring the River Severn it crosses:

• A Crossing Since Medieval Times: A bridge has stood on this spot since at least the 12th century, likely wooden initially, before being replaced by a more substantial stone structure known as the Stone Bridge or Great Bridge.

• The Second Incarnation (1774): The current structure's direct predecessor was built between 1769 and 1774 by renowned architect John Gwynne. It was considered a magnificent example of Georgian engineering, featuring elegant stone balustrades.

• The Modern Bridge (1926): The bridge we see today is a widening and rebuilding of Gwynne's 18th-century structure. Due to increased traffic and narrowness, it was demolished and reconstructed between 1924 and 1926 by engineer Sir Thomas Peirson Frank and the Shrewsbury Borough Surveyor, A. W. Ward. The new design retained the look of the Georgian original but was significantly wider and structurally reinforced. It was formally opened by Queen Mary on October 20, 1926, and is the Grade II listed structure we admire today.

The spires visible in the background are another clue to the town’s rich past: the tall, Gothic-style spire to the left is likely St Mary's Church, while the one near the centre belongs to St Alkmund's Church.

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Dating the Slide: Clues from the Film and Foliage

While the bridge's architecture confirms it was taken after its 1926 reconstruction, we can narrow the date down significantly by looking at the photograph's characteristics:

1. The Colour Palette: The rich, slightly muted reds and browns in the foliage, the deep green of the grass, and the distinct blue of the sky suggest a colour slide film from the 1970s or early 1980s. The colour saturation and overall "look" are typical of slide film from that era, such as Kodachrome or Ektachrome.

2. The Foliage: Crucially, the trees on the far bank show sparse leaves and definite autumnal tones, while the grass in the foreground is still lush and green. This points clearly to a photograph taken in late autumn (October or November).

3. Modern Clutter: The lack of heavy, modern signage or overt 21st-century street furniture also reinforces an earlier date.

Conclusion on Date: Based on the film's distinct colour rendering and the seasonal state of the trees, this beautiful vista of Shrewsbury’s English Bridge was most likely captured during a clear, crisp day in Autumn between 1975 and 1985.

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Stonehenge, July 1977: A Look Back Through the Lens

Stonehenge. The name conjures up mystery, ancient rites, and the sheer scale of human ambition. But beyond the geology and archaeology, a photograph of the site often captures something else: a particular moment in time.

I recently rediscovered this black-and-white image—a 35mm slide taken in July 1977—and it instantly transported me back to a pivotal era for this iconic monument.

The Monumental and the Mundane

What immediately strikes me about this photograph is the contrast. The Neolithic sarsens and bluestones dominate the frame, dark and imposing against the bright sky, emphasizing their enormous presence. It’s a shot that speaks to the sheer mass and mystery of the structure.

But look closer, and you see the details that anchor it firmly in the late 1970s:

• Proximity to the Stones: Notice the two figures nestled right between the towering uprights. Today, visitors view the stones from behind a rope barrier, kept at a respectful distance to prevent damage. This photograph is a fantastic reminder of a time when people could walk directly among the stones, touching the cold, ancient surfaces.

• A Snapshot of Visitors: The figures—perhaps a family or a couple—are dressed in the casual attire of the era. Their small scale relative to the trilithons highlights the truly monumental nature of the site. They are just a fleeting moment in the thousands of years of history that the stones have witnessed.

• The Black-and-White Aesthetic: The photograph’s monochrome nature, typical of many 35mm slides processed into prints, adds a dramatic, almost brooding atmosphere. It accentuates the texture of the stone and strips away the distractions of colour, focusing the viewer purely on form, shadow, and scale.

Stonehenge in 1977: A Changing Landscape

The late 1970s marked a transition for Stonehenge. While it was still relatively accessible, the number of visitors was rapidly increasing, leading to necessary changes in management and conservation that would be implemented over the coming decades.

This image captures the end of an era—a time just before the site became fully roped off, a time when the stones felt a little more personal, a little more accessible, and perhaps a little more susceptible to being touched and experienced up close.

Holding this slide, I'm reminded that Stonehenge isn't just an ancient ruin; it's a living, breathing landmark that constantly changes how we interact with it.

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