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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Early 20th-Century Glamour: Unpacking the Intrigue of Vintage Postcards

It's amazing what a pair of vintage postcards can tell you about a moment in history. My collection recently yielded two fascinating images—likely from the Edwardian era or very early 1910s—that offer a candid, yet carefully staged, look into the evolving world of women's fashion, photography, and social norms.

The Allure of the Edwardian Pin-Up

These images capture a woman in an intimate, boudoir setting, posed on a luxurious-looking bed. This kind of photograph—which circulated widely as postcards—was an early form of the "pin-up." They weren't just personal mementos; they were a popular, mass-produced commodity, blending fashion, fantasy, and mild titillation for the time.

The Lingerie: A Glimpse Underneath

The woman is wearing what appears to be a chemise or nightgown made of light, possibly silk or fine cotton fabric, detailed with delicate lace and small bows. This light, less restrictive style of undergarment was a significant shift from the highly structured, heavily corseted silhouette of the late Victorian era. The black stockings, contrasted with the white lingerie and bed linens, were a classic, visually dramatic choice that often featured in this kind of photography.

The Unexpected Hat

Perhaps the most striking element in both pictures is the large, feather-laden hat the woman is wearing indoors. Hats were an essential, often enormous, accessory of the Edwardian and early 1910s era. Their presence here, worn with lingerie, adds an undeniable element of staged, theatrical glamour and paradox. It's a juxtaposition—the public accessory worn in the most private of settings—that enhances the photo's playful, slightly defiant mood.

Visual Storytelling: Two Sides of a Moment

What's particularly compelling about having two cards of the same model and setting is seeing the slight change in pose that tells a mini-story:

1. The Contemplative Pose: In the first image, the model is seated, head resting thoughtfully on her hand, engaging the camera with a direct, confident, and slightly weary gaze. It's a classic pose of moody allure.

2. The Action Pose: The second image shifts to a moment of "action" as she handles her high-heeled shoe, suggesting she is either dressing or undressing. This pose offers a slightly more active and dynamic look at her attire and the setting, making the viewer feel like they've caught her in media res.

These postcards are more than just photographs; they are small pieces of social history. They show us a time when photography was becoming more accessible and when a woman's image—even one conveying a sense of private glamour—could be mass-produced and shared, revealing the shifting boundaries between the private and public spheres.

The 2 images below are scanned from my postcard collection, clicking either of them should open a link in another window to my Colin Green Photography store on Zazzle.

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