Prentbriefkaart aan Philip Zilcken before 1914

Curator: Let’s take a look at this postcard, "Prentbriefkaart aan Philip Zilcken," crafted by Alphonse Stengelin. Though undated, we believe it was made before 1914. It's a pen and ink drawing on paper. Editor: It strikes me as a palimpsest of marks. A chaotic field of script, struggling to communicate clearly across time. I notice it has elements of calligraphy combined with practical directions. What draws you in, structurally speaking? Curator: The superimposition, precisely. The layered handwriting creates an almost textile effect. See how Stengelin exploits the white space to build an intricate pattern, and then disrupts this with firm linear inscriptions of the address details. This opposition, the lyrical and the informational, is fundamental. Editor: The address certainly grounds it, literally pointing us towards Egypt: 'Monsieur Th. Zilcken, Ch: El-Nemr, no: 5, Le Caire.' Egypt, even in pre-war Europe, carried powerful connotations of history, of ancient knowledge. Was this perhaps a deliberate act to situate the communication, to imbue the text with significance? Curator: Quite possibly. Observe how the "Egypte" is not simply typed; the hand-rendered script signals an embrace of both traditional craftsmanship and also… subjectivity, in the construction of the graphic elements. Editor: And consider that stamp, “République Française”, the symbol of Marianne almost obscured…it's as if the personal message overtakes the state. Postcards like these, even with a clear sender and receiver, speak to our desire to connect and travel. A potent combination of freedom and control in the face of approaching war. Curator: Indeed, examining how line, texture and script conspire within this small plane gives way to so many compelling questions! Editor: Absolutely. This miniature artwork serves as a time capsule. Its very material and visual details suggest the grand themes that still resonate today.