Great Scots, Part II: Revolutionaries, Innovators, and Artists

Welcome back to the world of the 1933 Mitchell's Cigarettes series, "Great Scots." Our first instalment introduced literary giants and historical figures. This second set of ten cards delves deeper into the figures who truly shaped Scotland's identity—from the heroes of independence to the inventors of the Industrial Revolution and the masterminds of the Jacobite cause.

The variety of careers and eras featured on these small cards is a stunning reminder of the rich tapestry of Scottish history.

The Fight for Independence

Two of the most legendary figures in Scottish history, whose very names evoke the struggle for freedom, anchor this set.

Sir William Wallace: The card features the heroic leader of the Wars of Scottish Independence in what looks like a negotiation or appeal to two robed figures. Wallace's story of resistance against English rule remains a powerful symbol of Scottish patriotism and courage.

Robert the Bruce: Pictured in a scene of counsel or political negotiation, Bruce, the King of Scots, successfully secured Scotland's de facto independence at the Battle of Bannockburn in 1314. He is one of the most revered figures in the nation's history.

Innovation and Intellect

Scotland's contributions to the Enlightenment and the Industrial Revolution are represented by two world-changing innovators.

James Watt: The card shows Watt, the renowned inventor, in a workshop setting with a steam-powered mechanism. His improvements to the steam engine were fundamental to the Industrial Revolution, making him a cornerstone of modern technological history.

Sir William Hamilton: A prominent Scottish philosopher and metaphysician, Hamilton is pictured examining a paper at a desk. His work was influential in the 19th-century intellectual landscape, particularly in logic and academic philosophy.

Rebellion and Intrigue

Several figures on these cards were central to the conflicts and power struggles that defined the nation.

Cardinal Beaton (David Beaton): A powerful and controversial figure in the Scottish Church and a strong opponent of the Reformation, Beaton's card depicts a dramatic scene that might allude to his violent assassination in 1546, a pivotal event in the religious struggles of the era.

Lord Melville (Henry as, 1st Viscount Melville): A politician of immense power and influence, Dundas was a dominant figure in late 18th and early 19th-century British politics, often referred to as "the Uncrowned King of Scotland." The card shows him in what appears to be a court or parliamentary setting, reflecting his political career.

Lady Anne Mackintosh: A truly remarkable figure, Lady Anne raised the Clan Mackintosh for the Jacobite cause during the '45 Rising, earning the nickname "Colonel Anne." Her card, showing her in a position of authority among kinsmen, celebrates her fierce loyalty and military aptitude.

The Arts and Education

From portraiture to literature and academic governance, these figures show Scotland's cultural depth.

Sir Henry Raeburn: One of Scotland’s greatest portrait painters, Raeburn is shown with a sitter and an easel. His work captured the leading figures of the Scottish Enlightenment and remains highly celebrated for its directness and warmth.

George Buchanan: A towering figure of the Scottish Renaissance, Buchanan was a humanist scholar, poet, and tutor to the young James VI (James I of England). The illustration on the card may refer to an anecdote about his strict tutoring methods.

Andrew Lang: A prolific Scottish man of letters, Lang was a poet, novelist, literary critic, and folklorist, famous for his collection of Fairy Books. His card shows him at a desk, with a hint of sport (a cricket bat) and perhaps a scene of play or legend in the background, hinting at his diverse interests.

This set is more than just a roll call of famous names; it's a commentary on what 1933 Britain deemed essential Scottish history. The prominence of both the legendary freedom fighters and the architects of the Industrial Age illustrates a national identity proud of both its ancient rebellious spirit and its modern intellectual output.

Stay tuned for the next block of ten cards as we continue this journey through Scotland's unforgettable past! Clicking any of them should open a link in another window to my Colin Green Photography store on Zazzle.

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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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Discovering Holmes Park, Luddendenfoot: A Haven of History and Greenery

Nestled in the heart of the Calder Valley, Holmes Park in Luddendenfoot is one of those quiet treasures that beautifully blend history, community spirit, and natural charm. On a clear day, the park is alive with the sounds of children playing, birdsong from the surrounding woodland, and the gentle hum of the nearby River Calder. It’s a place that reflects the enduring character of this proud Yorkshire village.

A Green Escape

Holmes Park offers a peaceful retreat with its wide grassy areas, mature trees, and well-kept paths that invite you to stroll and take in the scenery. The playground and sheltered picnic spots make it a welcoming space for families, while the surrounding hills frame the park with an unmistakably Calderdale feel.

At its heart stands a small pavilion, its moss-covered roof a reminder of time’s passage. It provides a shaded place to rest and watch the life of the park unfold. Whether you’re walking the dog, enjoying a morning jog, or simply pausing to admire the landscape, Holmes Park has a timeless quality that captures the essence of village life.

The Crossfield Fountain

One of the park’s most distinctive landmarks is the Crossfield Fountain, a small but elegant stone structure standing on a raised plinth. It bears the name J.W. Crossfield, dated July 1914 — a poignant reminder of an era when the world was on the brink of great change.

The fountain’s design, with its four pillars and domed top, is classically inspired, and although it no longer flows with water, it remains a symbol of the community’s heritage. It was likely erected as a public drinking fountain or commemorative feature, offering refreshment and reflection to generations past and present.

Luddendenfoot War Memorial

A short walk deeper into the park brings you to a more solemn but deeply important feature — the Luddendenfoot War Memorial. This dignified stone obelisk, surrounded by plaques set into a low wall, honours the brave men of Luddendenfoot who gave their lives in service during the First and Second World Wars.

The inscription reads:

“In memory of Luddenden Foot men who gave their lives for their country in the Great War 1914–1918, and in later wars for peace and freedom.”

Each November, this spot becomes the focus of remembrance as wreaths of red poppies are laid at its base — a moving tribute that connects the present generation with those who came before. The memorial’s setting within the tranquil park makes it a fitting place for contemplation and gratitude.

A Place of Community and Continuity

Holmes Park is more than just a green space — it’s a living piece of Luddendenfoot’s story. From the laughter in the playground to the respectful silence around the war memorial, every corner tells part of the tale of this close-knit Yorkshire community.

As the seasons change, the park transforms — spring brings fresh growth and colour, summer offers light and shade, autumn cloaks the trees in gold, and even in winter, the quiet beauty remains.

For locals and visitors alike, Holmes Park, Luddendenfoot stands as a reminder that heritage and everyday life can coexist gracefully — a place to remember, to relax, and to reconnect.

The pictures were taken on the 27th February 2019 with a Nikon d3300, clicking any of them should open a link in another window to my Colin Green Photography store on Zazzle.

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All the pictures remain the copyright of Colin Green.

Great Scots: A Vintage Look at Scottish History and Culture Through Cigarette Cards Set 1

I've recently started exploring a fascinating set of vintage Mitchell's Cigarettes cards from 1933. This particular series, focusing on notable figures from Scottish history, literature, and military life, is a treasure trove of cultural history. This first batch of ten cards introduces us to a diverse group—from philosophers and poets to queens and kings. They remind us how popular figures were once packaged for the masses, tucked inside a packet of cigarettes!

Let's dive into the first ten 'Great Scots' from this 50-card collection:

Philosophers and Writers

The collection highlights Scotland's incredible contributions to the world of thought and literature, featuring some of the Enlightenment's giants and later literary masters.

David Hume: Pictured with a thoughtful expression and a book, Hume is one of the most influential figures in Western philosophy. A key figure in the Scottish Enlightenment, his empiricism and scepticism had a profound impact on fields ranging from metaphysics to economics.

Sir Walter Scott: The card shows the author of classics like Ivanhoe and Rob Roy sitting beside a dog. Scott was a hugely successful novelist and poet, often credited with popularizing the historical novel genre. His work played a major role in shaping the modern image of Scotland.

Sir James M. Barrie: The creator of Peter Pan, Sir James M. Barrie, is shown in a scene that looks like a formal gathering or a court setting. Barrie's enduring works, which blend fantasy and whimsy, secured his place as a beloved Scottish playwright and novelist.

James Thomson: Best known as the author of the lyrics to "Rule, Britannia!", Thomson was an influential poet and playwright of the 18th century. His works were instrumental in the development of the Romantic movement in poetry.

James Boswell: Pictured in a social setting, Boswell is famous for his detailed and compelling biography, The Life of Samuel Johnson. He is widely regarded as one of the greatest biographers in the English language.

Royalty, Legend, and War

Other cards focus on figures whose lives were defined by power, conflict, or legend.

Mary Queen of Scots: The card features her portrait alongside an illustration that appears to show her contemplating a chess game or a map with two men. Mary's tumultuous life and tragic end are central to Scottish and British history, making her a compelling and popular historical figure.

Macbeth: This card steps into the realm of legend and Shakespearean drama. The portrait of the man who was historically an 11th-century King of Scotland is accompanied by a dramatic illustration of warriors, underscoring the fierce, epic nature of his story.

The Marquis of Montrose: James Graham, 1st Marquess of Montrose, was a staunch Royalist military commander during the Wars of the Three Kingdoms. His card shows him in an outdoor, military-like scene, reflecting his career as a brilliant but ultimately tragic figure in Scottish civil war.

Donald Cameron (of Lochiel): Representing the fiercely independent spirit of the Highlands, Donald Cameron, the 19th Chief of Clan Cameron, was a major figure in the 1745 Jacobite Rising, a time of great upheaval for Scotland.

Sir John Moore: This card commemorates a great military leader. Sir John Moore was a distinguished British Army general, famous for his courageous and brilliant leadership during the Peninsular War, where he was killed at the Battle of Corunna.

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What Can These Cards Tell Us?

More than just collecting historical portraits, this set gives us a glimpse into early 20th-century popular history. The fact that Mitchell's Cigarettes chose these particular figures shows the enduring cultural resonance of Scottish history and the importance of its literary and military heroes to the public imagination in the 1930s.

Keep an eye out for the next ten cards, as we continue to unpack the "Great Scots" series!

Clicking any of the cards should open a link in another window to my Colin Green Photography store on Zazzle.

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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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Sowerby Bridge Railway Station: A Gateway Through Time

Tucked into the heart of the Calder Valley, Sowerby Bridge railway station is more than just a stop along the line—it’s a beautifully preserved piece of industrial history that continues to serve the community today. Opened in 1876 by the Manchester and Leeds Railway, to replace the earlier 1840 station, this station has witnessed the evolution of West Yorkshire’s transport network, from the age of steam to the modern Northern Rail services that still call here daily.

The Jubilee Refreshment Rooms – A Taste of the Past

The first image captures the charming Jubilee Refreshment Rooms, a rare surviving example of Victorian railway hospitality. Originally opened in the late 19th century, the building was once a bustling rest stop for travellers and railway staff alike, offering tea, coffee, and light refreshments to those journeying through the valley.

After years of neglect and near demolition, the structure was lovingly restored and reopened in 2009, reviving its role as a welcoming hub for passengers. Today, the building continues to echo with history—its brickwork, chimney stacks, and sash windows all whispering stories from the golden age of rail.

The Support Arches – Engineering with Purpose

The second image highlights a series of impressive brick support arches underneath the station, remnants of the engineering ingenuity that defined the railway age. These arches form part of the elevated sections that once supported sidings and goods facilities, essential for handling coal, textiles, and other cargo central to Sowerby Bridge’s industrial economy.

Beyond their functional strength, the arches demonstrate the Victorian engineers’ mastery of form and utility. Their curved design distributes weight evenly, allowing heavy locomotives and loads to pass safely above while enduring the test of time and weather. In recent decades, they’ve stood as silent witnesses to change—part of the enduring industrial landscape that defines this corner of Yorkshire.

A Living Heritage

Sowerby Bridge station remains a working reminder of Britain’s railway heritage. With the restored refreshment rooms, the solid arches, and the echoes of steam still lingering in the air, it connects past and present in a way few modern stations can. Whether you’re arriving for a scenic walk along the Calder or simply watching the trains pass by, there’s a sense that history is always just around the corner.

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Echoes of Faith and Stone: Photographing Dewsbury Minster

April sunlight filtered gently through the skeletal branches of spring trees, scattering dappled patterns across the worn gravestones and honeyed stone walls of Dewsbury Minster. The air was still, the churchyard hushed except for the faint hum of distant traffic — a reminder that this ancient place, once a spiritual heart of Yorkshire, now rests quietly amid the rhythms of modern life.

A Lens on a Thousand Years of Worship

Photographing Dewsbury Minster feels like walking through a dialogue between centuries. The Minster, officially known as The Minster Church of All Saints, Dewsbury, stands on ground sanctified long before the Norman Conquest. Tradition holds that Paulinus of York, one of the early missionaries who brought Christianity to northern England, founded a church here in AD 627. That makes Dewsbury one of the earliest centres of Christian worship in West Yorkshire — a place where history is literally layered into the stone.

Through the viewfinder, the Minster’s Norman tower and Gothic windows speak of evolving craftsmanship — a blend of Saxon spirit and medieval devotion. Its sandstone blocks glow warmly in the afternoon light, each carrying the weight of centuries of prayer, conflict, and renewal.

The Soul of the Building

Stepping inside, the Minster reveals its quiet grandeur. The arched arcades, carved columns, and stained glass windows create a dance of colour and shadow that shifts with every passing hour. One photograph captures the Great East Window, a masterpiece of Victorian glasswork, depicting the crucifixion surrounded by saints and angels — a kaleidoscope of devotion frozen in light.

The interior today feels welcoming and alive, with curved rows of wooden chairs replacing traditional pews, their purple cushions adding a modern warmth against the ancient stone. The altar, framed by the great arch of the chancel, glows under soft illumination — a focal point both for worship and artistic contemplation.

The Curfew Bell of Dewsbury

Perhaps Dewsbury’s most famous tradition is the “Curfew Bell”, also known as the “Devil’s Knell.” Each Christmas Eve, the church bell tolls once for every year since the birth of Christ — a haunting and beautiful ritual said to date back to the 15th century. The custom was established by Sir Thomas de Soothill, who donated the bell in penance for a violent crime, and it continues to this day, linking the modern town to its medieval conscience.

Stories in Stone

Wandering the churchyard, I was drawn to the worn gravestones and memorials that circle the Minster like sentinels of memory. The Kohima Epitaph memorial, inspired by the words from the Battle of Kohima (“When you go home, tell them of us and say…”), stands humbly on the cobblestones — a small yet deeply moving tribute to sacrifice.

Nearby, a carved statue of St Philip watches over visitors inside the Minster, his serene face illuminated by a shaft of natural light — a moment that felt quietly timeless through the lens.

Reflections Through the Camera

Photographing Dewsbury Minster in April 2015 with a modest Polaroid iS2132 camera, I was reminded how photography can bridge time. The church’s textured stone, filtered sunlight, and intricate glass challenged the lens to balance detail and atmosphere. In every image, the Minster seems to breathe — ancient yet alive, sacred yet rooted in the everyday life of Dewsbury.

A Living Heritage

Today, Dewsbury Minster stands not only as a house of worship but as a community hub — hosting concerts, art exhibitions, and social initiatives that reflect its enduring mission of faith and fellowship. To photograph it is to witness continuity: the sacred and the ordinary woven together, much as they have been here for nearly 1,400 years.

I took these pictures with a Polaroid is2132 bridge camera in April 2015, clicking any of them should open a link in another window to my Colin Green Photography store on Zazzle.

Kohima Epitaph Memorial.

It consists of a cylindrical stone column resting upon a large six-pointed star set into the cobblestone path of the churchyard. The column is engraved with the famous lines from the Battle of Kohima: "When you go home, tell them of us and say, for your tomorrow, we gave our today." This humble yet deeply moving tribute commemorates the sacrifices made by the Commonwealth forces during the Battle of Kohima in World War II, connecting the ancient Yorkshire church to a moment of modern global conflict and remembrance.

The statue of St Philip is one of a series of carved wooden figures that form a magnificent Reredos (an ornamental screen or partition covering the wall at the back of an altar). This Reredos, dating from 1912, was designed by Temple Moore and carved by Bridgeman of Lichfield.

Originally installed behind the high altar of the Minster, it is now situated in the church's Narthex (entrance area) and depicts Christ surrounded by the Twelve Apostles, with each saint holding the symbol associated with their martyrdom or life story. The figure represents St Philip the Apostle, and he is typically identified by a long staff topped with a small cross or by a basket or loaves (referencing his role in the Feeding of the Five Thousand), serving as a beautiful example of early 20th-century religious art within the historic Minster.

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The image displays the Great East Window of Dewsbury Minster, a magnificent example of Victorian stained glass. The window was made by Meyer of Munich and was erected in 1884. It is noted for its impressive scale and design, standing as a prominent piece of the Minster's collection of stained glass. While the Minster also houses some beautiful medieval stained glass which is mainly 14th century, the Great East Window itself is a later, Victorian addition.

Please take a moment to share this post, follow me on social media, and explore my work on Clickasnap and Photo4Me using the links below. Your support means a lot!

All the pictures remain the copyright of Colin Green.