History of postcards in the United States

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"Greetings from Chicago, Illinois" large-letter postcard produced by Curt Teich Greetings from Chicago, Illinois (63167).jpg
"Greetings from Chicago, Illinois" large-letter postcard produced by Curt Teich

The history of postcards is part of the cultural history of the United States. Especially after 1900, "the postcard was wildly successful both as correspondence and collectible" and thus postcards are valuable sources for cultural historians as both a form of epistolary literature and for the bank of cultural imagery included in the postcard illustrations reflecting historic popular culture norms and tropes. [1] Postcards are also valuable resources for scholars of architectural and regional history. [2]

Contents

Postcard eras

There are several common motifs present in American postcard design, most shaped by production practices and laws in place at the time of production. These have been identified by deltiologists and grouped together into what are commonly referred to as eras or periods which describe a postcard's style or method of production. While features of these eras, such as a divided back, are present in other countries as well, the dates of production may differ. For example, "divided back" postcards were introduced to Great Britain in 1902, five years before the United States. [3] The golden age of postcards is commonly defined in the United States as starting around 1905, peaking between 1907 and 1910, and ending by World War I. [4] [5] [6] Listed here are eras of production for specific types of postcards, as typically defined by deltiologists. Most of the dates are not fixed dates, but approximate points in time as there was a lot of overlap in production. [7] These will be further elaborated upon in the following sections.

Others styles of postcards have fairly established dates of production as well. These are not typically referred to as eras, as they were never the predominant type at any given time.

History

Pioneer era

Under an act passed by the U.S. Congress on February 27, 1861, privately printed cards (which weighed one ounce or less) were allowed to be sent by mail. [7] John P. Charlton copyrighted the first postcard in America that same year. [7] The rights to this card were later sold to Hymen L. Lipman, who began reissuing the cards under his name in 1870. [7] The U.S. Postmaster General John Creswell recommended to the U.S. Congress one-cent postal cards in November 1870. [5] Legislation was passed on June 8, 1872, which allowed the government to produce postal cards. [7]

By law, only government-issued postcards were allowed to say "Postal Card". [7] Privately printed postcards were still allowed but they were more expensive to mail (two-cent postage versus one-cent for government cards). [7] Backs of these private cards typically contained the words "Correspondence Card", "Mail Card" or "Souvenir Card" [23] [7] The Morgan Envelope Factory of Springfield, Massachusetts, claims to have produced the first American postcard in 1873. [24] [25]

Political hold-ups including concerns by future President James Garfield (the Representative), delayed issuance of the official government postal. [5] Finally, it was issued in May 1873, and first went on sale in Springfield, Massachusetts on May 12 of that year. [5] [7] According to The New York Times, postal clerks in the city sold 200,000 cards within 2.5 hours on May 14. [5] Nationwide, 31 million postal cards were sold by the end of June 1873, and more than 64 million by the end of September. [5] The numbers only continued to grow through 1910. [5]

World's fairs

There were many world's fairs and expositions held across the United States in the late 19th and early 20th centuries. The first to be depicted in an early advertising postcard was the Interstate Industrial Exposition that took place in Chicago in 1873. [26] As that exposition card was not intended to be a souvenir, the first postcard to be printed explicitly as a souvenir in the United States was created for the 1893 World's Columbian Exposition, also in Chicago. [26] [27] [28] There were 120 different images of the exposition printed on government postals by private distributors. [1] Among the most popular, was Charles W. Goldsmith's set of ten postcard designs (in full color) showing the exposition buildings. [1] [29] Governmental postal cards, and private souvenir cards featuring buildings and exposition grounds remained popular staples of future expositions. [5] [27]

One large mix-up occurred at the 1895 Cotton States and International Exposition in Atlanta. [5] All of the postcards there were printed on plain card stock, so most people assumed they were government-issued postals requiring one cent for postage instead of two. [5] The incident made the headlines. [5]

Golden age of postcards

Scenes of Toledo graphic, Toledo, Ohio - DPLA - 0ce167be199e77e548e0c78d05743ed0 (page 1).jpg
Scenes of Toledo graphic, Toledo, Ohio - DPLA - 0ce167be199e77e548e0c78d05743ed0 (page 2).jpg
A 1909 postcard from Toledo, Ohio

The U.S. Congress passed an act on May 19, 1898, which allowed private printers and publishers to officially produce postcards, and for them to be posted at the same rate as government-produced postals (one-cent, previously two). [7] [30] Until this time, privately printed cards bore the terms "Correspondence Card", "Mail Card" or "Souvenir Card". [1] [7] The act now required private cards to state "Private Mailing Card, Authorized by Act of Congress of May 19, 1898". [7] Hence, deltiologists have referred to this as the "Private Mailing Card Act".

This prohibition on verbiage was rescinded on December 24, 1901, by the Postmaster-General, who issued Post Office Order No. 1447. [7] It allowed private postcards to use the term "Post Card" on their backs. [7] The order also shortened the requirement and allowed private publishers to omit the citation to the 1898 act. [7] Still, correspondents could only write on the front of the postcard, the back was reserved for the recipient's address. [7] This has become known as the "undivided back" era of postcards. [7]

The Universal Postal Congress decreed that government-issued postcards in the United States could contain messages on the address side beginning March 1, 1907. [7] In line with these changes, the United States Congress passed an act on March 1, 1907, which extended this to privately produced cards. [7] [26] These laws were further tweaked by orders of the U.S. Postmaster-General that same year. [7] This ushered in the "divided back" era of postcards, which lasted until World War I. [7] On these cards the back is divided into two sections: the left section is used for the message and the right for the address. [7]

1905 postcard with 'undivided back' 1905DuPontMillpcardback.jpg
1905 postcard with 'undivided back'
Postcard with 1908 cancellation Ocean Grove Post Card.jpg
Postcard with 1908 cancellation

Thus began the "golden age" of American postcards, which roughly spanned from 1905 to the First World War. [5] Others define the "Golden Age" as aligning more closely with the "divided back" era. [7] Regardless, it peaked between 1907 and 1910, and started to decline with the introduction of tariffs on German-printed postcards in 1909. [31] [5] [7] [27] The postcard craze between 1907 and 1910 was particularly popular among rural and small-town women in Northern U.S. states. [6] Many social, economic, and governmental factors combined to create the postcard boom. [5] Demand for postcards increased, government restrictions on production loosened, and technological advances (in photography, printing, and mass production) made it possible. [5] [27] In addition, the expansion of Rural Free Delivery allowed mail to be delivered to more American households than ever before. [5] Other factors included shifts in artistic taste among the public, and the development of a sale and distribution network of jobbers and importers—connecting Main Street America with German printers. [27] Billions of postcards were posted during the golden age, with nearly 700 million postcards mailed during the year ending June 30, 1908, alone. [27]

American 'divided back' postcard, 1916 Freudenberg ArthurOscar 02.jpg
American 'divided back' postcard, 1916

The decline began with the Payne-Aldrich Tariff Act of 1909, which was mostly lobbied for by American publishers who did not wish to compete with German publishers. [27] [5] By some estimates, the new tariffs on postcards were an increase of 300 percent. [32] Many distributors imported large quantities of German-produced cards before the tariffs took effect, causing a glut in the market. [31] [27] German publishers began moving production to the United States shortly after the Payne-Aldrich Tariff Act to keep selling to the American market. [33] Ultimately, the tariffs contributed to the end of the "golden age" as publishing quality decreased (American technology lagged behind German), and as public interest in collecting waned. [27] [7] The National Postcard Association was formed to combat unfair practices, low prices, and an excessive amount of unsalable postcards. [27] Effects of the tariffs were reinforced by the British naval blockade of German merchant ships at the outbreak of World War I in 1914. [34] Postcard manufacturers called off their annual conventions that year, and many shifted to greeting card production. [27] The war cut off the importation of fine German-produced cards as well as dyes used for ink—which were largely produced by the German Empire. [34] [35] Production of some postcards would continue during the war, to support propaganda efforts and troop morale. [34]

Post-World War I

In response to the war-time shortages of ink, and the restrictions placed on importation, American publishers began producing larger quantities of postcards which featured a white border on the edges. [34] Although these were seen occasionally prior to the war, this design change allowed publishers to save ink and lowered the precision threshold for cutting the cards. [34] The "white border" era would last from about 1913 to 1930. [34] During this period, public tastes had changed and publishers began focusing more on scenic views, humor, fashion, and surrealism. [34]

Mid-century "linen" postcards were produced in great quantity from 1930 to 1945, although they continued to be produced more than a decade after the introduction of Photochrom cards. [7] Despite the name, "linen" postcards were not produced on a linen fabric, but used newer printing processes that used an inexpensive card stock with a high rag content, and were then finished with a pattern which resembled linen. [7] The face of the cards is distinguished by a textured cloth appearance which makes them easily recognizable. The reverse of the card is smooth, like earlier postcards. The rag content in the card stock allowed a much more colorful and vibrant image to be printed than the earlier "white border" style. Due to the inexpensive production and bright realistic images they became popular.

One of the better known "linen-era" postcard manufacturers was Curt Teich and Company, who first produced the immensely popular "large letter linen" postcards (among many others). The card design featured a large letter spelling of a state or place with smaller photos inside the letters. The design can still be found in many places today. Other manufacturers include Tichnor and Company, Haynes, Stanley Piltz, E.C. Kropp, and the Asheville Postcard Company. Cards printed by Curt Teich and Company typically included production numbers in the stamp box, which can be used for dating. [36]

The Great White Liner "South American," Chicago, Illinois, circa 1915-1930. Curt Teich & Co. postcard 103504. The Great White Liner "South American," Chicago, Illinois, circa 1915-1930.jpg
The Great White Liner "South American," Chicago, Illinois, circa 1915–1930. Curt Teich & Co. postcard 103504.

By the late 1920s new colorants had been developed that were very enticing to the printing industry. Though they were best used as dyes to show off their brightness, this proved to be problematic. Where traditional pigment based inks would lie on a paper's surface, these thinner watery dyes had a tendency to be absorbed into a paper's fibers, where it lost its advantage of higher color density, leaving behind a dull blurry finish. To experience the rich colors of dyes light must be able to pass through them to excite their electrons. A partial solution was to combine these dyes with petroleum distillates, leading to faster drying heatset inks. But it was Curt Teich who finally solved the problem by embossing paper with a linen texture before printing. The embossing created more surface area, which allowed the new heatset inks to dry even faster. The quicker drying time allowed these dyes to remain on the paper's surface, thus retaining their superior strength, which give Linens their telltale bright colors. In addition to printing with the usual CYMK colors, a lighter blue was sometimes used to give the images extra punch. Higher speed presses could also accommodate this method, leading to its widespread use. Although first introduced in 1931, their growing popularity was interrupted by the outbreak of war. They were not to be printed in numbers again until the later 1940s, when the war effort ceased consuming most of the country's resources. Even though the images on linen cards were based on photographs, they contained much handwork of the artists who brought them into production. There is of course nothing new in this; what it notable is that they were to be the last postcards to show any touch of the human hand on them. In their last days, many were published to look more like photo-based chrome cards that began to dominate the market. Textured papers for postcards had been manufactured ever since the turn of the century. But since this procedure was not then a necessary step in aiding card production, its added cost kept the process limited to a handful of publishers. Its original use most likely came from attempts to simulate the texture of canvas, thus relating the postcard to a painted work of fine art. [37]

A tinted (black-and-white image that has had colored tint added) souvenir card. Image of the Christopher Columbus taken circa 1896. Christopher Columbus whaleback white at Racine.jpg
A tinted (black-and-white image that has had colored tint added) souvenir card. Image of the Christopher Columbus taken circa 1896.

World War II to present

The last and current postcard era, which began about 1939, is the "chrome" era, a shortened version of Photochrom (without the 'e' in American English; with in British English). [7] However these types of cards did not begin to dominate until about 1950 (partially due to war shortages during WWII). [7] The images on these cards are generally based on colored photographs, and are readily identified by the glossy appearance given by the paper's coating. "These still photographs made the invisible visible, the unnoticed noticed, the complex simple and the simple complex. The power of the still photograph forms symbolic structures and make the image a reality", as Elizabeth Edwards wrote in her book, The Tourist Image: Myths and Myth Making in Tourism. [38]

See also

Related Research Articles

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<span class="mw-page-title-main">Postal card</span>

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<span class="mw-page-title-main">Postage stamps and postal history of the United States</span>

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<span class="mw-page-title-main">Greeting card</span> Piece of card with a picture and a message

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<span class="mw-page-title-main">Deltiology</span> Study and collection of postcards

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<span class="mw-page-title-main">Advertising postcard</span>

An advertising postcard is a postcard used for advertising purposes. Postcards are used in advertising as an alternative to or to complement other print advertising such as catalogs, letters, and flyers. Advertising postcards may be mailed or distributed in other ways.

<span class="mw-page-title-main">Columbian Issue</span>

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<span class="mw-page-title-main">Ellen Clapsaddle</span> American illustrator (1865–1934)

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References

  1. 1 2 3 4 Ferguson, Sandra (September 2006). First International Conference on the History of Records and Archives. ""A Murmur of Small Voices": On the Picture Postcard in Academic Research". Archivaria. The Journal of the Association of Canadian Archivists (60): 167–184. ISSN   1923-6409.
  2. ↑ Marjonovic, Igor (2004). Postcards and the Making of Architectural History: The Case of the Alvin Boyarsky and Rem Koolhaas. ACSA Press. ISBN   978-0-935502-54-1.
  3. ↑ Petrulis, Alan. "Post Card undivided". www.metropostcard.com. Retrieved April 1, 2020.
  4. ↑ Petrulis, Alan. "MetroPostcard History of Postcards". www.metropostcard.com. Retrieved April 1, 2020.
  5. 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 United States Postal Service (September 2014). "Stamped Cards and Postcards" (PDF). United States Postal Service. Archived (PDF) from the original on August 26, 2019. Retrieved March 31, 2020.
  6. 1 2 Gifford, Daniel (2013) American Holiday Postcards 1905–1915: Imagery and Context. McFarland Press. ISBN   0786478179.
  7. 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 "Postcard History | Smithsonian Institution Archives". November 23, 2018. Archived from the original on November 23, 2018. Retrieved April 1, 2020.
  8. 1 2 3 4 5 6 7 "Chicago Postcard Museum – Postcard Era History". www.chicagopostcardmuseum.org. Retrieved April 3, 2020.
  9. 1 2 3 4 5 6 7 8 Ellison, Todd (August 7, 2006). "Tips for determining when a U.S. postcard was published". Fort Lewis College. Retrieved April 1, 2020.
  10. ↑ Palmer, Richard. "Postcard Craze Engulfs the Great Lakes". Inland Seas. 50 (1): 39–45.
  11. ↑ "Leather Postcards". Flickr. March 25, 2017. Retrieved April 1, 2020. Sending and receiving postcards between 1907 and 1915 were the equivalent to the text-messaging communication phenomenon of today. A particular genre from the early 1900 to 1909 was the novelty postcard produced on leather, more commonly referred to as leather postcards. Although leather postcards became quite popular, they were banned for postal use by the United States Postal Service in 1909. Thus, leather postcards postmarked after 1909 tend to be very rare – though not unseen.
  12. ↑ Aizenberg, Salo (2013). Hatemail: Anti-Semitism on Picture Postcards. The Jewish Publication Society. p. 121. ISBN   978-0827609495. Leather postcards were novelty items popular in the United States from around 1900 to 1909, when they were banned by the post office due to the difficulty of processing the leather in sorting machines. Leather postcards were produced both by commercial publishers and by individuals who purchased the raw leather and used burning kits to create the image.
  13. ↑ Tribune-Herald, Terri Jo Ryan Special to the. "Brazos Past: Leather postcards from early 20th century present unique slices of life". WacoTrib.com. Retrieved April 1, 2020. These leather postcards were a fad from about 1900 until 1909, when they were banned by the U.S. Postal Service because of the damage they inflicted on sorting machinery.
  14. ↑ "Short-lived frenzy over leather postcards – Auction Finds". August 8, 2016. Retrieved April 1, 2020.
  15. ↑ "[Untitled]". The Goldfield News (Goldfield, Nevada). July 29, 1904. p. 1. J. W. Halterman received a burnt leather souvenir postal card from his wife Wednesday, on which was the picture of a bear chasing a man up a tree and the inscription, "no time to write from Colorado." He immediately took an ordinary postal, drew a picture of a man chasing a bear up a tree, wrote at the side "no time to write from Nevada" and sent it on to his wife.
  16. ↑ "[Untitled]". The Winfield Daily Free Press (Winfield, Kansas). September 27, 1904. p. 8. "Doc" Johnson has honored the Free Press with a leather post card from Colorado.
  17. ↑ "[Untitled]". Tri-City Evening Star (Davenport, Iowa). October 1, 1904. p. 8. Justice L. E. Roddewig this morning received a leather postal card from a Davenport friend visiting in Omaha. The card is certainly a novelty.
  18. ↑ "A Postal Card of Leather". Sterling Evening Gazette (Sterling, Illinois). October 12, 1904. p. 2. Scott Williams has begun the making of a new article of pyrography which is sure to prove exceptionally popular. It is a lweather post card, to be used as a souvenir of Sterling, upon the back of which is a photograph of Sterling scenery or buildings and suitable inscriptions done with the red hot point. The card is attractive and there is no doubt that Mr. Williams will secure many orders.
  19. ↑ "[Untitled]". The Miami News (Miami, Florida). October 13, 1904. p. 5. The Metropolis is in receipt of a pretty burnt leather souvenir post-card from Mr. E. F. Boss, of Petoskey, Mich., which is dated the 10th, and shows he and family "starting for Miami."
  20. ↑ "Leather Postal Card". Logansport Pharos Tribune (Logansport, Indiana). October 19, 1904. p. 8. Dr. J. A. Little received a souvenir leather postal card from Dr. A. J. Herrmann who, with his wife and family are sojourning in California, this morning stating that he would be home Sunday. He writes that his wife and children have gained very much in flesh and that they are enjoying the trip immensely. The card was mailed at Los Angeles.
  21. ↑ "Valentine Day Near". Dixon Evening Telegraph (Dixon, Illinois). February 1, 1905. p. 5. Pretty hearts of wood are prepared and decorated with beautiful Christy or Gibson heads on them. They can be sent through the mail with address on one side just like a post card. These with the leather post card will be very popular this year. There are also the heart shaped handkercief [sic] boxes with appropriate pictures burnt on them. All of these things can also be put in watercolors and this seems to be quite the thing now.
  22. ↑ "[Untitled]". Sterling Daily Standard (Sterling, Illinois). February 6, 1905. p. 8. Scott Williams says that the leather post card valentines are making a great bit and that his orders for them have caused him to increase the output of them as rapidly as possible. Whole sheep skins are cut into post card size and then pictures burned on them with appropriate wording, or painted in water colors. The Bloomington agency is demanding large quantities and second orders have come from Champaign, Rockford, Dixon and Clinton, Ia. Four artists are at work steadily at the studio.
  23. ↑ Petrulis, Alan. "MetroPostcard History of Postcards 1873–1897". www.metropostcard.com. Retrieved April 1, 2020.
  24. ↑ "History & Innovation". Bostonhistorycollaborative.org. Retrieved June 16, 2012.
  25. ↑ "Springfield 375 | Springfield's Official 375th Anniversary Celebration Site". Springfield375.org. Archived from the original on April 5, 2012. Retrieved June 16, 2012.
  26. 1 2 3 "The History of Postcards".
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  28. ↑ "Chicago Postcard Museum – How to Age a Postcard". www.chicagopostcardmuseum.org. Retrieved April 1, 2020.
  29. ↑ Willoughby, Martin (1992). A History of Postcards. London England: Bracken Books. p. 42. ISBN   1858911621.
  30. ↑ "An Act To amend the postal laws relating to use of postal cards" (PDF). United States Congress Statutes at Large. 20: 358. Archived from the original (PDF) on July 2, 2017.
  31. 1 2 "Post Card Situation". The American Stationer. 65: 26. April 23, 1910. hdl:2027/nyp.33433090917406.
  32. ↑ "Tariff Bill Comparisons". Geyer's Stationer. 48: 1 & 20. August 12, 1909. hdl:2027/nyp.33433108136940.
  33. ↑ "Post Card Situation: New High Tariff Causes Foreign Manufacturers To Make Plans For American Factories—German Firms Active". Geyer's Stationer. 48: 6. November 4, 1909. hdl:2027/nyp.33433108136940.
  34. 1 2 3 4 5 6 7 Petrulis, Alan. "MetroPostcard History of Postcards 1914–1945". www.metropostcard.com. Retrieved April 1, 2020.
  35. ↑ "German Dyes Scarce". Geyer's Stationer. 58: 27. May 20, 1915. hdl:2027/nyp.33433108135934.
  36. ↑ "Guide to Dating Curt Teich Postcards" (PDF). Newberry Library. 2016.
  37. ↑ Linen Cards. Metropolitan Postcard Club of New York City.
  38. ↑ Edwards, Elizabeth (1996). The Tourist Image: Myths and Myth Making in Tourism. West Sussex PO19 1UD, England: John Wiley and Sons. pp. 199–200. ISBN   0-471-96309-7.{{cite book}}: CS1 maint: location (link)
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