Tuesday, June 29, 2010
Sale - Occasions & Messages
Postcard: I love Me
Condition: MINT
Quantity: 1
Price: US$5.00
Catalog: OM009
Postcard: Effects of abusing Ecstasy and Ketamine
Ketamine is a drug used in human and veterinary medicine developed by Parke-Davis (today a part of Pfizer) in 1962. Its hydrochloride salt is sold as Ketanest, Ketaset, and Ketalar. Pharmacologically, ketamine is classified as an NMDA receptor antagonist.[2] At high, fully anesthetic level doses, ketamine has also been found to bind to opioid μ receptors and sigma receptors. Like other drugs of this class such as tiletamine and phencyclidine (PCP), it induces a state referred to as "dissociative anesthesia" and is used as a recreational drug. Ketamine has a wide range of effects in humans, including analgesia, anesthesia, hallucinations, elevated blood pressure, and bronchodilation. Ketamine is primarily used for the induction and maintenance of general anesthesia, usually in combination with some sedative drug. Other uses include sedation in intensive care, analgesia (particularly in emergency medicine), and treatment of bronchospasm. It is also a popular anesthetic in veterinary medicine. Ketamine is a chiral compound. Most pharmaceutical preparations of ketamine are racemic; however, some brands reportedly have (mostly undocumented) differences in enantiomeric proportions. The more active enantiomer, (S)-ketamine, is also available for medical use under the brand name Ketanest S. Ketamine is a core medicine in the World Health Organization's "Essential Drugs List", which is a list of minimum medical needs for a basic health care system. MDMA (3,4-Methylenedioxymethamphetamine, commonly known as ecstasy) is an entactogenic drug of the phenethylamine and amphetamine families. MDMA has a tendency to induce euphoria, a sense of intimacy with others, and diminished anxiety and depression. Many, particularly in the fields of psychology and cognitive therapy, have suggested MDMA might have therapeutic benefits and facilitate therapy sessions in certain individuals. Clinical trials are now testing the therapeutic potential of MDMA for post-traumatic stress disorder (PTSD) and anxiety associated with terminal cancer. MDMA is criminalized in most countries in the world under a United Nations (U.N.) agreement, and its possession, manufacture, or sale may result in criminal prosecution, although some limited exceptions exist for scientific and medical research. MDMA is one of the most widely used recreational drugs in the world and is taken in a variety of contexts far removed from its roots in psychotherapeutic settings. It is commonly associated with dance parties (or "raves") and electronic dance music. There have been debates within scientific, health care, and drug policy circles about the risks of MDMA, specifically the possibility of neurotoxic damage to the central nervous system (CNS). Regulatory authorities in several locations around the world have approved scientific studies administering MDMA to humans to examine its therapeutic potential and its effects. Continuing to study the substance in clinical trials, the Multidisciplinary Association for Psychedelic Studies released the following statement in October 2008, "We found that low doses of MDMA (between 50 and 75 mg) were both psychologically and physiologically safe for all the subjects. Future studies in larger samples and using larger doses are needed in order to further clarify the safety and efficacy of MDMA in the clinical setting in subjects with PTSD.”(Post Traumatic Stress Disorder). The role of the United States government in creating many of the pervasive myths surrounding the drug, including the overstatement of its dangers, was sharply criticized in Ecstasy Rising, an ABC journalistic special program hosted by then-anchor Peter Jennings.
Condition: MINT
Quantity: 1
Price: US$5.00
Catalog: OM008
Postcard: Blue tongue tattoo gallery
Using the body as a canvas, there's Bluetongue Tattoo Gallery down the steps off Hollywood Road. Hong Kong's first tattoo gallery, it was opened in January this year by Joanne McMullan, who aims to take tattooing out of the underworld and into the arena of art. But as well as a tattoo parlor, Bluetongue serves as an artists' network and gallery—with a focus on the body. "Whether it be sculpture, photography, hats or painting, it's all based on the body," explains McMullan.
Condition: MINT
Quantity: 1
Price: US$6.00
Catalog: OM007
Postcard: World AIDS Day - Play it safe
Also in this sectionThe basics.The statistics.About World AIDS Day..The number of people living with HIV in the UK has trebled in the last 10 years The basics - The number of people living with HIV in the UK has trebled in the last 10 years. What is HIV? HIV is a virus that attacks the body's immune system - the body's defence against diseases. Are HIV and AIDS the same? No. When someone is described as living with HIV, they have the HIV virus in their body. A person is considered to have developed AIDS when the immune system is so weak it can no longer fight off a range of diseases with which it would normally cope.
How is HIV passed on? HIV can be passed on through infected blood, semen, vaginal fluids or breast milk.
The most common ways HIV is passed on are:
Sex without a condom with someone living with HIV
Sharing infected needles, syringes or other injecting drug equipment
From an HIV-positive mother (to her child) during pregnancy, childbirth or breastfeeding (but with effective treatment and care the risk of transmission can be greatly reduced)
I don't know anyone with HIV... do I? Today there are more people than ever before living with HIV in the UK, but less people report knowing someone with HIV. People with HIV generally look healthy and many do not find it easy to tell other people, so you may not realise if someone you know if HIV positive. To learn more about the different groups of people affected by HIV view the statistics.
Is there a cure for HIV? No, but treatment can keep the virus under control and the immune system healthy. People on HIV treatment can live a healthy, active life, although they may experience side effects from the treatment. If HIV is diagnosed late, treatment may be less effective.
Condition: MINT
Quantity: 1
Price: US$6.00
Catalog: OM006
Postcard: Panasonic - Lumix and ecam
Best known by its Panasonic brand name, Group & Global Headquarters, Panasonic Corporation. based in Osaka, Japan is a worldwide leader in the development and manufacture of electronic products for a wide range of consumer, business, and industrial needs.
Condition: MINT
Quantity: 1
Price: US$3.00
Catalog: OM005
Postcard: Professional Education Co Ltd (Thailand)
Condition: MINT
Quantity: 1
Price: US$3.00
Catalog: OM004
Sticker: SPCA - Thank you for savine me.
SPCA, the Society for the Prevention of Cruelty to Animals ,was first formed by a group of volunteers in 1903 but was not active until 1921. Although we are the first Charity in Hong Kong to deal with all aspects of animal welfare, we obtain very little support from the Government. The Society therefore, has to struggle constantly to continue its work. http://www.spca.org.hk/
Condition: MINT
Quantity: 1
Price: US$3.00
Catalog: OM003
Postcard: Watermark - For your Perfect Wedding (3D MAGIC Postcard)
Watermark was 2008’s venue of choice for private parties for everyone from Agnes b. to MTV. With its panoramic harbour views and wraparound outdoor terrace, decked out in simple creams, it’s easy to put your own mark on the place. Run by the Igor’s group, it serves continental cuisine and seats 170 indoors, or 300 standing. Hong Kong.
Condition: MINT
Quantity: 1
Price: US$3.00
Catalog: OM002
Postcard: Eye Catching Postcard Advertising
Condition: MINT
Quantity: 1
Price: US$6.00
Catalog: OM001
Wednesday, June 23, 2010
Postcard collecting ~ Deltiology
Deltiology, the formal name in the U.S. for postcard collecting, is currently the third largest collectable hobby in the world. It is surpassed only by coin and stamp collecting (in the U.S. baseball collecting is greater, but that is a national past-time not worldwide). The popularity of post cards can be attributed to their broad subject appeal. Almost any subject imaginable has been, at some time, portrayed on a postcard. The broad subject range comes as a result of the social usage cards were designed for. Postcards continue today to be the most popular form of souvenir for travelers as well as economical means of communication both personal and business related.
Monday, June 21, 2010
Storage Systems
There are basically 5 different systems used at present (arranged in the order of popularity):
1.Loose Leaf Albums
Loose leaf pages are customarily made of plastic and come in a variety of sizes and configurations to suit the chosen Album. The most popular size accommodates 4 vertical postcards on one page. The more elaborate and more expensive Albums accommodate 6 vertical postcards on each page. A nice touch is the use of Slip boxes that make for a nice presentation on a storage shelf or in a book case.
2. Loose Leaf Mini-Albums
These Loose leaf pages are also made of plastic and come in more limited sizes and configurations to suit the chosen Mini-Album. They also can handle either vertical or horizontal postcards. Mini-albums are preferred by those collectors who have limited numbers of cards and like the ability to segregate cards using their own plan.
3. Cardboard Boxes
These are used by collectors who have the need to store large quantities of postcards. The standard postcard box holds approximately 800 postcards in thin (2 mil) sleeves. Fewer will fit in each box if heavier sleeves are used. The down side of boxes thet they must be removed from the box to be viewed.
4. File Drawers or File Cabinets are generally used by collectors with large collections demanding large amounts of space.
5. Electronic Systems have recently become more popular as computers and scanners have acquired greater storage capacity. We find more people scanning their cards and developing Electronic Data Bases and Checklists. This permits the collector to store Pictures in full color, (enhanced, enlarged, and even color corrected) for printing or viewing without needing to handle the actual stored postcard.
ABOUT POSTCARD DURABILITY
Postcards may appear to be a strong and substantial collectible but that is merely an illusion. The knowledgeable collector will think of them as being made of fragile paper pasted to cardboard with a thin top veneer of print, colored inks or thin photographic paper. Today we have many new plastic and composite products available to supplement the time tested storage techniques of the past. We will share some of our thoughts about safe storage techniques that may prove of interest to Postcard Collectors.
Sleeves
There are 5 different types of sleeves available in either standard or large Continental size (arranged in the order of cost):
a. The least expensive is the 2 mil polyethylene plastic;
b. Next is the 2 mil polypropylene plastic (crystal clear);
c. Then we have the 4 or mil polypropylene plastic (double thick plastic; d. Next is the Semi-Rigid 5 mil plastic holder;
e. Finally, the most expensive, the 10 - 16 mil heavyweight hard plastic holder.
Since there appear to be no true standards for most of these storage materials, you may wish to ask other collectors or dealers for their recommendations.
Plastic: There are many good plastic products now designed specifically for the storage of postcards. In addition there are many good albums, boxes, and other storage material made for photographs that can be adapted for cards. Likewise many artist materials traditionally made for the repair of books can also be applied to postcards. The only plastics that should come in contact with postcards are those made to remain stable such as polyester, polyethylene, and polypropylene. They are all used to manufacture a large amount of products ranging from postcard sleeves to album pages. Polyester, usually found under the trade name Mylar D, is a usable stable plastic but few postcard related products are made from it. The proper use of plastics are a card’s first line defense against damage.
Framing
Warning, framing postcards (even with non-glare glass or plastic) will cause postcards to ultimately fade. The ultra violet light rays cause chemical changes on the inks used in printing postcards.
Photo Albums
Warning,there are many albums made for photographs used by postcard collectors that have a sticky corrugated paper base under a plastic sheet. The irregular surface causes a transfer of yellowish stripes across the card’s back from chemical damage from the glue, and sometimes similar glossy stripes will appear across the front from pressure against the plastic (ferrotyping). Some albums have magnetic qualities to hold objects in place but they also are magnets for all sorts of pollutants that can speed up a card’s deterioration. Many plastic albums are still made from poly vinyl chlorides (PVC’s) that emit acidic fumes which damage the cards they hold. Cards should only be placed in album pages made from polyethylene or polypropylene as they will not transfer harmful chemicals to the card.
Box Separators or Dividers
There are 2 types available, the Thin style 4 7/16 inch x 6 inch, 25 gauge plastic and the Heavy style 4 7/16 inch x 6 inch, 30 gauge plastic separators. Based on years of experience, we recommend using only the Heavy style 4 7/16 inch x 6 inch, 30 gauge plastic separators that are straight cut. We have found both the Thin style and the indexed style to crack and break, even under normal use.
Sunday, June 20, 2010
To date real photo postcards
TECHNIQUES FOR DATING REAL PHOTO POSTCARDS
We will describe five (5) different techniques for dating real photo postcards:
(1) If used, the cancellation will frequently provide the best clue to the date that the image was photographed.
(2.) If unused, if there is a Stamp Box printed on the back of the postcard, this offers the best clue to the period that the photographic paper was in use. To see a comprehensive list of Stamp Boxes and their periods of use, click here to visit Playle's site.
(3.) If unused, if there is no Stamp Box printed on the back of the postcard, the printing style of the back offers the best clue to the period that the photographic paper was in use. To see a comprehensive list of Real Photo Printed Style Backs and their periods of use, click here to visit Playle's site.
(4.) Carefully examine the image for telltale age markers such as automobile models, the clothing worn by people,
(i.e. shoes or hats) or the presence of early electrical lights strung across the roads, or dirt streets that existed before paving became the standard.
(5.) Look for the photographer's name, city, studio location, or logo. Some commercial photographers made hundreds or even thousands of different real photo postcards. Their work and time periods may be documented.
TO IDENTIFY A REAL PHOTO POSTCARD
The best way to authenticate a Real Photo Postcard is to look at the card under magnification. Real Photo Postcards have areas of solid black and gray that have NO DOTS in contrast to the pattern of dots seen on all printed postcards. Real photo postcards are actual photographs that have been printed in a darkroom on postcard paper.
Also, RPs are printed on photographic paper. The manufacturer of the photographic paper is frequently found on the back of the Postcard. They usually provide markings that can be used to date the card. A few of the more common are EKC, DOPS, Velox, AZO, Kodak, and ANSCO. Many of the mass produced postcards will simply have "Real Photo Postcard" printed on the back.A caption was often hand-written or scratched on the negative, as in this case. Then the photograph was printed onto postcard sized photographic paper stock. This paper was made especially for postcards, again, as in this case, with the word "postcard" and a stamp location already printed on the paper. Many real photos are one of a kind. Some were produced in slightly larger quantities, usually by the photographer. Some clues are that if the caption is not neat, it probably was one of a kind. Mass produced cards usually were neater. Some of them carry the name of the photographer. Real photos date from early in the century to present day.
Real Photo postcards sometimes have a white border, a divided back, or another feature of postcards, depending on the paper used by the photographer. Early real photo cards will sometimes have a shiny "patina" which is due to the oxidation of silver deposits.
Caution: Many current Real Photo postcards are reproductions of earlier historic photos. To determine if it is authentic or a reproduction, examine the card with a magnifying glass. Only the authentic historic real photo will show smooth transitions from one tone to another.
Caution: Printed Photo Postcards sometimes look like real photos but are printed by lithography or other methods and are not considered real photo postcards.
An Overview of Real Photo Postcards
The birth date for Photography is considered to be 1839 when Louis-Jacques Mande Daguerre invented the world's first practical photographic process, called the daguerreotype. This produced an image on a silver-coated copper plate and was used extensively until 1854 when ambrotypes (negative image on a glass plate viewed as a positive by the addition of a black backing), tintypes (negative image on a thin iron plate viewed as a positive by the addition of an undercoating of black Japan varnish), and Wood Framed Image Cases came into use until the middle of 1865.
The quest for photographs on paper started with Calotypes (a positive photographic image on salted paper from a negative produced in the same manner) in 1841. Albumens (a positive print on paper coated with egg whites produced from a glass negative ) followed in 1850 and then cartes de visite, cabinet cards, stereographs, dry plates, silver prints, and platinum prints in rapid succession.Finally, it was George Eastman who was most responsible for the development of the Real-photo postcard. Eastman developed a complete and easy to use camera system he named Kodak.
Photographs were occasionally sent through the mail as handmade cards in the 19th century. In 1898, George Hollister, a postcard publisher in New York City produced a series of 26 postcards of Greater New York with a pasted photograph on each postcard. This process is referred to as "tipping in." It was a printed postcard with a printed frame in which the photograph was carefully placed and pasted down.
The first known Real Photo Postcard finally made its appearance in 1899, but these cards did not begin to be made in large numbers until Eastman bought the rights to Velox photo paper. This easy to use developing paper, which he began to seriously market in 1902 was then produced on heavy stock to prevent curling and would come with a pre printed postcard back. A year later he put an inexpensive folding camera on the market that produced negatives the same size as postcards allowing for simple sharp contact printing. No other company put nearly as much money into advertising. Great efforts were made to distinguish the artistic quality inherent in real photos from that of printed halftone reproductions. Between 1906 and 1910, Kodak offered a fee based service where they would process and print real photo postcards adding greatly to their convenience and popularity.IN 1898 A PHOTOGRAPHER PRODUCED A SET OF postcards of New York City with real photographs pasted on the fronts of the cards . In 1903 Kodak introduced the No. 3A Folding Pocket Kodak. The camera, designed for postcard-size film, allowed the general public to take photographs and have them printed on postcard backs. They are usually the same size as standard vintage postcards (3-1/2" x 5-1/2"). Also known by the acronym "RPPC".
Kodak's 3A camera pioneered in its use of postcard-size film but was not the only one to make Real Photo postcards. Many other cameras were used, some of which used old-fashioned glass plates that required cropping the image to fit the postcard format. The Kodak company created a service called “Real Photo postcards,” enabling people to make a postcard from any picture they took" in 1907.
While Kodak was certainly the major promoter of photo postcard production, they didn't seem to originate the term "Real Photo," and used it less frequently than photographers and others in the marketplace from 1903 to ca. 1930. But today it has become the popular term to distinguish photographic postcards from commercially printed, mass-produced postcards of the same era.
The abbreviations on the back of Real Photo cards
AGFA ANSCO 1930s-1940s
ANSCO 2 stars at top and bottom 1940s-1960
ARGO 1905-1920
ARTURA 1910-1924
AZO SQUARES IN CORNER 1927-1940s
AZO 4 triangle pointed up 1904-1918
AZO 2 triangles up, 2 down 1918-1930
CYKO 1904-1920s
DEFENDER diamond above and below 1910-1920
DEFENDER diamond inside 1920-1940
DOPS 1937-1942
EKC 1945-1950
EKKP 1904-1950
KODAK 1950 to present
NOKO 1907-1920s
PMO 1907-1915
SOLIO 1903-1920s
VELOX 1901-1920
VITAVA 1925-1934
Note that Real Photo cards are still being produced today. Some of them are professionally produced with titles, descriptions, and postcard backs, but they bear the tell-tale "Printed on Kodak Paper."
Grading Postcards
When buying or selling postcards, everyone wants to know the condition of the postcard. This rating system is used for older or antique postcards.
M - Mint
A perfect card just as it comes from the printing press. No marks, bends, or creases. No writing or postmarks. A clean and fresh card. Seldom seen.
NM - Near Mint
Like Mint but very light aging or very slight discoloration from being in an album for many years. Not as sharp or crisp.
EX - Excellent
Like mint in appearance with no bends or creases, or rounded or blunt corners. May be postally used or unused and with writing and postmark only on the address side. A clean, fresh card on the picture side.
VG - Very Good
Corners may be a bit blunt or rounded. Almost undetectable crease or bend that does not detract from overall appearance of the picture side. May have writing or postally used on address side.
G - Good
Corners may be noticeably blunt or rounded with noticeably slight bends or creases. May be postally used or have writing on the address side.
FR - Fair
Card is intact. Excess soil, stains, creases, writing, or cancellation may affect picture. Could be a scarce card that is difficult to find in any condition.
DESCRIPTION OF POSTCARD CONDITION
10, Unused in superb condition
9. Used or unused, almost perfect
8. Very minor wear, no album marks
7. Slight wear or album marks
6. Slight corner rounding, minimum wear
5. Minor corner or edge damage
4. Some damage or minor creasing
3. Edge damage or major creasing
2. Considerable damage
1. Major damage ie. part missing
DESCRIPTION OF POSTCARD CONDITION
VRG Multicard lot : majority in good condition
VRF Multicard lot : majority in fair condition
VAR Multicard lot : not in any particular grade category
Preservation of Postcards
The best way to take care of your cards is to only handle them with clean white cotton gloves while wrapping each one individually in buffered paper to help neutralize contaminants before placing them in rigid sleeves. They should then be stored in acid free archival boxes that are carefully monitored for a constant level of proper temperature of about 68 degrees and low humidity at 35% percent in a room closed off to all light.
While there are collectors who will go through these lengths to protect cards purchased for investment, they are too extreme for most of us who wish to interact with our cards. A balance must be found between cost, use, and their care, measured against the purpose they serve for us. While all cards should be given at least some level of protection, many of the procedures described below are both time consuming and expensive. One needs to consider if it is worth spending five dollars to repair a card purchased for a Quarter. But even these cards will one day become scarce if they are left to deteriorate. Many of us give these matters little thought as collecting postcards is just an enjoyable hobby. But whatever our purpose for collecting is it must be remembered that to some degree we all become custodians of history and this must be respected.
While there are collectors who will go through these lengths to protect cards purchased for investment, they are too extreme for most of us who wish to interact with our cards. A balance must be found between cost, use, and their care, measured against the purpose they serve for us. While all cards should be given at least some level of protection, many of the procedures described below are both time consuming and expensive. One needs to consider if it is worth spending five dollars to repair a card purchased for a Quarter. But even these cards will one day become scarce if they are left to deteriorate. Many of us give these matters little thought as collecting postcards is just an enjoyable hobby. But whatever our purpose for collecting is it must be remembered that to some degree we all become custodians of history and this must be respected.
As hobbies have turned into collectable markets a number of sources for archival and conservation material for cards have developed. There are many good plastic products now designed specifically for the storage of postcards. In addition there are many good albums, boxes, and other storage material made for photographs that can be adapted for cards. Likewise many artist materials traditionally made for the repair of books can also be applied to postcards.
Acid
The paper used in postcard production is made up of cellulose that is derived from organic materials. A traditional source of cellulose for papermaking was cotton or flax from which rag paper is obtained. But by the late 19th century these traditional methods could not meet the high demand for large quantities of cheap paper. Paper made from ground wood pulp, mechanical paper, was substituted but it only produces a weak product and is high in lignin that cause it to quickly deteriorate. After decades of experimentation a practical method of making paper from wood pulp was finally developed. But to break down the harder fibers found in wood and remove most of the lignin it has to go through much cooking and bleaching in which chemicals are added to hasten the process. The finished product, chemical paper, contains residues of this process and some remaining lignin, which acidifies, causing the paper to turn yellow and become brittle as it ages. The alum rosin used in sizing many printing papers can also turn highly acidic when exposed to chlorine. All paper with acid content will eventually crack and break at the gentlest touch.
Even though chemical paper was in wide use when postcards first began to be made, individual printers used a variety of paper types. While rag paper was too expensive for most commercially printed cards, rag content was sometimes added to chemical pulp in varying percentages to improve its quality. The more rag content a paper has the less contaminants it contains to age it. On the other hand, mechanical pulp can also be added to lessen cost but its acid forming lignin will speed up deterioration. By the 1930’s with fewer publishers in the postcard business and the need to keep production costs low, almost all cards began to be made with chemical pulp. Many linen, postcards of this time now look much older than some cards printed fifty years earlier. It must be noted that linen postcards were not made from linen and contain no rag content. The name derives from the texture embossed into its surface.
All postcards regardless of their inherent acid content can be chemically contaminated by secondary exposures. The acids that form in postcards will migrate from one to another, so a card relatively free of chemicals can be contaminated by lying next to a card of poorer quality. Non acid free boxes like most cardboard is usually made from mechanical pulp that is high in acid content and can damage cards stored in them. Acid will also migrate thought the air so the two paper surfaces only need to be in proximity to one another for damage to occur. When cards are sealed within a box the airborne acid concentrates within it to maximize damage.
An alkaline mist containing magnesium oxide or calcium carbonate can be sprayed onto a card to help neutralize its acid content. It is applied as a mist so not to cause moisture damage. While it may not totally neutralize all the acid in paper it will at least slow its aging. This process however often leaves a chalky residue behind. There are also acid neutralizing tissued papers made that are buffered with alkaline. They will help in neutralizing acid content when cards are wrapped in them but this procedure is basically for long term storage. None of these procedures will repair acid damage that has already occurred.
The easiest way to prevent acid migration is by proper storage. Postcards should never be placed in contact with other paper but kept in plastic sleeves or album pages made from polyethylene or polypropylene that will not transfer any chemicals onto the cards. They should not be placed in ordinary cardboard boxes for permanent storage but into one of the many types of archival boxes now available.
Oils
Oil and grease can be very damaging to a card. It not only holds and attracts additional pollutants to a cards surface but mold and insects are atracted as well. In addition oils may also stain cards and contain acids that will directly attack its surface.
It is difficult to impossible to remove oils from postcards once they have moved into its fibers. Absorbent papers gently blotted against a card’s surface may remove some oil if the card was freshly contaminated.
While some oils can be airborne, the primary source of oil contaminants is from human touch. Most postcards have past through many hands over their lifetime absorbing much into their fibers. Theoretically unsleeved postcards should only be handled with white cotton gloves. On a more practical level they should at least be handled with freshly washed hands and then only by their sides. Any fingerprint will damage a postcard even if you cannot see it.
Smoke
The organic nature of paper allows it to breath and absorb any pollutant in the air. While the severity of this type of contamination will vary widely depending on how cards are stored and the air quality of region they are located in, they are all very susceptible to damage by smoke. When exposed to smoke from a fireplace or stove postcards can absorb soot that can blacken them permanently. Much of this damage is accumulative as the carbon particles too small for the eye to see slowly build up. The more common threat to postcards is from cigarette smoke. Here the added nicotine content will cause exposed cards to turn a dark yellow brown and become brittle. While this effect is only observable over time it is far more damaging than one might expect.
Less noticeable pollutants such as sulfur dioxide and nitrogen dioxide from the burning of fuels are found in high concentrations in urban areas and they can also slowly seep into postcards. These chemicals do not only discolor postcards, they will also deteriorate the card itself as they turn acidic. Real photo postcards particularly suffer from these pollutants as they will chemically react with the silver in their emulsions.
There are quite a number of paper cleaning powders on the market that can be applied dry to a postcards surface then brushed off. With gentle rubbing they will remove contaminants from the paper’s surface without damaging the card but they cannot remove those contaminants that have been deeply absorbed into the paper’s fibers. Ethyl alcohol (rubbing alcohol) can be used sparingly to clean the surface of real photo cards for it evaporates quickly and will not dissolve gelatin emulsions as water can.
Storing postcards in plastic sleeves or album pages is a good protection against airborne pollutants though not 100% effective. Cards in general should be stored away from windows, kitchens, furnaces, and other obvious sources of airborne contaminants. The safety of a postcard collection is also a good excuse to improve one’s health by creating a tobacco free environment.
Keeping postcards out of closets or even rooms that contain household chemicals such as cleaners and detergents can also add life to a card. While not considered smoke they will give off airborne pollutants no matter how carefully a container may be sealed. Those containing sulfur compounds are the most dangerous for they can easily be transformed into acids.
Albums
When postcards were first collected few had any regard to the effects storage habits would have on the life of the cards beyond the life of the collector. The act of collecting paper was somewhat new, and it started in an age when a great many new chemicals were entering the world whose long term effects were not yet known. It was common practice to place cards into albums or in metal tins that were sold for just such purposes. There were basically two types of postcard albums, both of which were made from acid rich paper. One had pre-cut slots into which cards could be placed. Cards that were once in such albums often have diagonal marks on their corners from acid migration and contact pressure. They may also have dark marks that were transfered onto them from the black pages of an album. The second type of album contained solid pages as they were often used as scrapbooks into which a variety of content would be pasted in. Postcards that have been torn from these albums often have residue of glue and paper on their backs. The acid from pieces of album pages still stuck to a card will continue to damage it. Album pages were often made of the cheapest paper available and their acid content is much higher than that found in any postcard. When all unprotected paper surfaces lie next to each other in the concentrated form of one of these albums, damage is enhanced. Glues used to paste in cards like rubber cement can cause great discoloration while casein based glues often soak into the card and harden becoming impossible to totally remove without damaging the paper.
More modern albums can also cause problems. There are many albums made for photographs used by postcard collectors that have a sticky corrugated paper base under a plastic sheet. The irregular surface causes a transfer of yellowish stripes across the card’s back from chemical damage from the glue, and sometimes similar glossy stripes will appear across the front from pressure against the plastic (ferrotyping). Some albums have magnetic qualities to hold objects in place but they also are magnets for all sorts of pollutants that can speed up a cards deterioration. Many plastic albums are made from poly vinyl chlorides (PVC) that give off acidic fumes that damage the cards they hold.
The damage caused by exposure to any one of these types of albums cannot be reversed. All foreign matter stuck to the back of a postcard should be removed as it can be assumed it will continue to damage the card. Depending how album residue is adhered this can be painstaking work. After all the loose material is removed by hand, a blade may be employed to scrap off the remainder of. This must be done so carefully as not to remove anything beyond what is pasted onto the card. Some glues like gum Arabic may be easily removed as they tend to lie on the paper surface, but more liquid type glues may have been absorbed into the card and are now permanently part of it. The glue may also be tested to see if it is water soluble. Removing glue with water is also tricky for it must be done in stages. Enough water must be applied to dissolve the glue but not to cause water damage. It must also be quickly blotted up from the card before it has time to be reabsorbed into the paper.
Cards should only be placed in album pages made from polyethylene or polypropylene as they will not transfer harmful chemicals to the card. They will also offer some protection from any contaminants emanating from the album itself. While many binders are made from materials that give off gases that will harm cards, totally archival albums are available in various forms but they can be quite expensive. It should also be remembered that albums do not protect cards from residue when they are placed in them back to back. Contaminants from one card can easily pass over to a pristine card under these conditions.
Tape
While cracks and tears often appear on cards as a result of their becoming brittle due to acid damage, many simply suffer from rough handling. Often it is a combination of the two. The obvious solution to many collectors was to place adhesive transparent tape across the damaged area. But as the tape dries out over time the plastic will fall off leaving behind an unmended tear and a crusty residue that continues to yellow the paper.
Yellowing caused by tape is not removable and any chemicals that may have been absorbed into the paper will continue to damage the card even after the tape is removed. To prevent further damage any plastic tape on a postcard should be removed if possible. Some tapes may still retain high adhesive qualities and will pull up paper with them, so much caution and discretion must be observed on how to proceed. All sticky residue left behind by tape can be removed with adhesive removers made specifically for paper products. Dry adhesive residue should be carefully scraped off.
If the tear or weak spot on the card absolutely need some support there are alternatives. Transparent mending tissues for book repair are a good choice for repairing postcards. Self adhesive tape of this type should however be avoided even if labeled archival as they may further damage the paper. The best method is to use a thin piece of Japanese rice paper cut to size and pasted onto the card with a vegetable starch or methyl cellulose paste. This is a traditional method of book repair. Another alternative if the damaged area is small is to use a peelable stamp hinge, as used by stamp collectors. These must be chosen with caution as almost all hinges manufactured in the United States have very high acid content.
If a card is in a fragile state due to tears, cracks, or creases, and you are uncertain of how to proceed, the card can always be stored in a ridged plastic sleeve. This will prevent any further physical damage while the cards future is contemplated.
Plastics
All plastics are petroleum products that can be composed of a variety of different chemicals. It is most common found in the form is polyvinyl chloride (PVC) from which a variety of products are made. This type of plastic is inherently unstable and will emit hydrochloric acid as it deteriorates. Postcards stored in plastic sleeves or album pages made from this material will suffer acid damage turning them yellow and brittle. Airborne acid migration from storage boxes or albums made from this material will also damage cards.
There is no way to repair acid damage created by exposure to polyvinyl chlorides.
The only plastics that should come in contact with postcards are those made to remain stable such as polyester, polyethylene, and polypropylene. They are all used to manufacture a large amount of products ranging from postcard sleeves to album pages. Polyester, usually found under the trade name Mylar D, is a usable stable plastic but few postcard related products are made from it. The proper use of plastics are a card’s first line defense against damage.
Light
For the most part colorants do not effect the aging of a postcard but are a element of a card that is subject to aging. Whenever a colorant is exposed to light, the energy from the ultra-violet portion of the spectrum will interact with the colorants molecules and damage them. This damage may cause them to darken, change color, but most often fade. This effect also varies from color to color as some will fade very quickly (fugitive), while others are quite resistant to damage (lightfast). Blacks rarely fade for they are mostly carbon based, and carbon is already a basic element and cannot be broken down further. Since the late 1920’s many more inks have been made from dyes instead of pigments and are more prone to fading. Because of their smaller molecular structure it takes less ultra violet energy to break their chemical bonds. The same is true for postcards that have been hand colored with watercolors rather than with oil paints. Pigment based oil paint was rarely used for coloring except on some real photo postcards.
The image on a real photo postcard is created by the interaction of light with a photosensitive emulsion that is chemically fixed when the desired exposure is reached. But not all of these cards were fixed well, especially if created by a amateur. To save money chemical baths were sometimes diluted or used past the time their reactive properties were spent. As unexposed silver salts left in the paper are exposed to light they will continue to darken the image.
Paper is not naturally white but must be bleached to achieve that appearance. Not all postcards were printed on white paper, some had dyes added to their pulp during manufacture to obtain softer tones or actual colors. When exposed to the sun these colorants can bleach out to varying degrees (lightburn). If only one area of a card is partially covered during a long exposure to light, a discernible demarkation will become visible.
There is no way to repair light damage to postcards.
Postcards should be kept away from light as much as possible. While sunlight is the primary source of ultra violet rays, indoor florescent lighting can be very harmful as well. If a postcard is framed, which is generally a bad idea, it should at least be kept out of direct sunlight, which it true for any work of art. An alternative is to make a high quality copy that can be discarded after being damaged by light.
Inks
Some inks as those used in chromolithography can contain a fair amount of varnish. Other cards received an entire coat of varnish to help protect their surface. When two varnished finishes lie against one another under pressure in a warm environment that can increase their tact, they will have a tendency to stick to one another. If pulled apart abrasive marks may appear on the card’s surface where the varnish has now been damaged. If the ink’s bond to the paper is weak whole sections of the printed image may come off.
While printing ink does not normally cause problems with a postcards stability the ink used to write messages onto them often does. Iron gall ink was commonly used before the advent of the ball point pen. Unfortunately it contains free acids that will deteriorate the paper it is written upon. The paper’s surface can sometimes be seen crumbling under wide swatches of this ink.
More modern writing inks have a tendency to fade, which does not destabilize the card but can lessen its historic value as the message upon it slowly disappears. Many modern inks are also water-soluble, which makes then susceptible to running and staining the postcard
There is nothing that can be done to repair damage to a card cause by ink or varnish.
Cards should be stored in plastic sleeves or album pages to prevent the ink or varnish from one card from damaging another. They should not be stacked or stored under pressure as a varnished surface may stick to its plastic protector. Unprotected cards should never be stacked face to face. It is best not to write on a postcard at all but if necessary never write in ink.
Moisture
Moisture can be a problem for certain colorants. While it has little effect on oil based pigments, certain aniline dyes that began being used in the late 1920’s were not waterproof. When exposed to moisture they will sometimes run leaving a pink stain behind (pinking). Postcards that are hand colored with watercolor are also susceptible to water damage. Watercolors always remain soluble and will dissolve, run, and pool when exposed to excess moisture.
Moisture can also damage the paper postcards are printed on. Since paper is an organic substance any water it absorbs will cause swelling. When this water evaporates it will do so at an uneven rate across the paper’s surface causing it to buckle and the ink to possibly crack. Because real photo postcards are heavily coated on one side with baryta and emulsion they also dry unevenly when wet. In this case the moisture problems manifest as curling. Photographs must be exposed to water as part of their processing, which is why they were traditionally glued down to boards afterwards. While real photo postcards were made on heavier paper stock to help control curling it remains a problem. A real photo card left exposed to the open air will absorb the moisture in it and curl.
Wet spots caused by constantly changing levels of humidity can cause oxidative damage to the cellulose in paper. this can appear as brown marks, dots, or smudges similar to oxidative damage on cut fruit. This is often mistaken for mold. When moisture is combined with heat it acts as a catalyst creating greater damage to the paper.
Ink and watercolor stains or runs, as well as oxidation damage are beyond repair. If a card has buckled due to water damage it may soaked in a water bath until it becomes completely flat as it swells with water, and then placed between blotters and weighted down so it will not curl when drying. While this may remove severe buckling it can leave new water damage. While wet the card also becomes very soft and all printed surfaces can be damaged very easily. Soaking cannot be done with hand colored cards without removing the color and staining the paper. Paper that has buckled from exposure to water will never completely regain its former appearance.
It is best to store and handle cards in an environment free of any possibilities of exposure to liquids. Humidity can be much more difficult to control. Environments that are either to damp or dry can harm postcards and speed up other deteriorating factors, and great fluctuations between the two are even more harmful. If possible it is advisable to store cards where humidity remains between 30 to 40%.
If postcards are to be stored within a container the addition of desiccant packets of silicon gel can absorb small amounts of moisture and keep humidity at a more constant level. Desiccants can often be heated and reused extending their life.
Heat
When heat is added to a chemical reaction it acts as a catalyst and will speed it up. Likewise when heat is added to a postcard it will speed up any processes that are currently aging and damaging the card. If moisture is added to the mix deterioration is sped up even further and new problems of infestation by mold or insects may arise.
Heat is a contributing factor to damage and its ability to be repaired will depend on the problem it is coupled with.
Postcards can be protected from heat damage by the extent the temperature of the environment they are stored in can be controlled. The perfect temperature to store cards in is between 60 and 70 degrees Fahrenheit. At the very least postcards should be stored in areas that are the least prone to overheating by natural or manmade sources.
Flaking
When changing temperatures and humidity expand and contract different areas of a postcard at different rates the more brittle areas can crack. Varnishes, thick layers of ink as found on chromolithographs, and the emulsions of real photo postcards are most susceptible to this problem. If the bonds between these materials and the paper are weak sections of the image can flake off a card exposing the paper underneath. This is especially true if the card is pressed against another surface that is more attractive to these materials than the original paper. Not only can the loss of surface damaged one card, but it can hurt another if its lost surface peemanently bonds to a second card.
Areas of a card that have been lost to flaking are gone for good.
While flaking cannot be repaired steps can be taken to help prevent additional loss of surface of which these cards a prone to. They must be stored rigidly and with as little handling as possible to avoid more cracking and surface abrasion. Controlled humidity is even more essential here as cards with cracks and missing flakes are even more susceptible to moisture damage.
Mold
While mold can severely attack and destroy an entire postcard that has remained wet for an extended period of time, most mold damage will appear in the form of small dark or reddish spots (foxing). When a postcard retains any moisture mold can be attracted to certain impurities either leftover in the paper itself from the manufacturing process, or to substances on the paper surface left there through handling. As long as the paper has continued exposure to moisture the mold will continue to grow and create further damage. These small spots that appear on postcards may not always be mold as they can also be caused by iron residue in the paper.
Mold can sometimes be removed from paper by soaking it in water until the spots float off from the surface with a little agitation and stroking with a soft brush. This however is a very dangerous procedure for postcards for the potential for water damage can be greater than the mold itself. When wet the printed surface of the postcard is extremely delicate and can be easily damaged by touch. Unless dried flat under pressure the postcard will most likely buckle. This will also retard the drying process, which may give new molds a chance to grow. Once wet a card will never look as good as it once did. This process cannot be used with hand colored cards. If the problem is iron residue or oxidation mistaken for mold, soaking will have no effect.
Chemicals such as peroxide bleach, denatured alcohol, or even lemon juice have been used to kill mold and lighten spots on paper. The danger here lies in that these substances may alter the color of the paper itself and become as visually intrusive as the mold spot. While this procedure can stop mold from spreading so can less invasive measures as dry storage.
While plastic coverings are a good way to generally protect postcards, moisture can condensate on their surface in contact with the card and create an inviting environment for the growth of mold. However if cards are stored in a relatively dry environment mold will not grow and any existing mold spots will not grow larger.
Insects
While the celulose in cards may be attractive to snails and slugs they are not a common houshold pest. It is the lignin in paper that can provide food for a variety of insects including silverfish, mites, book lice and worms. Postcards even seem to be a popular food among some roaches, termites, and moths. While insects are generally attracted to poorer quality papers because of their higher lignin content all postcards remain susceptible to their dietary interest. The gelatin in the emulsion of real photo postcards is also very attractive delicacy to a variety of pests. Insect damage may appear as tapered irregular shaped depressions on either side of the card with hard edges. In some cases these eaten areas may create holes completely through the card.
Insect damage cannot be repaired.
Storing postcards in a proper environment may keep insects away. While insects like the same dark and cool environment that is also good for postcards, they also generally prefer an environment that is damp. Cards should be stored in a relatively dry environment and away from other paper products that may attract insects. While a clean environment is a good added precaution, pests may be carried in or moved around unknowingly on a variety of paper products.
Postmarks
The cancelation of postage by a heavy hand stamp can embosses a postcard damaging the image. It is also common to find a cancelation stamped across the image side of the card by mistake.
The ink used by the Post Office Department was made so it could not be removed from a canceled stamp. The same holds true when attempting to remove it from a postcard’s image. The printed ink of the picture will come off a card before the ink of a cancel. If necessary an electric eraser that can provide high pinpoint abrasion used with a metal erasing stencil can isolate a specific mark for removal. But even this will only work on very light marks and the removal process can very easily cause further damage to the card.
Cancelation marks on the front of postcards seem to be as prevalent today as they were a hundred years ago and are probably not going to go away. It is best to view the cancel as part of that card’s history, and if it is found to be too troubling, the card should not be purchased.
Tarnishing
As photographs age the processing residue or silver, migrating out from the image can form a very noticeable surface crust of varying colors. Though found on almost all silver bromide images and developed out prints, it can occur in any silver based images with an organic emulsion.
Tarnishing is part of the internal aging chemistry of certain photographs and it cannot be reversed.
It is best to keep ones hands off of a photographs surface for any oily residue left behind will exasperate tarnishing eventually creating pitting and dark smudges or fingerprints that cannot be removed.
Foreign Objects
Postcards can suffer from indentations caused by being bundled together by rubber bands or paper clips. Paper’s organic nature will cause its fibers to slowly reshape around areas of applied pressure in a similar manner to the way decorative embossings are created. In addition as rubber bands age they will loose their elasticity and the chemicals within it may cause the rubber to bond with the cards surface.
Any object that applies pressure to a card should be removed to prevent further damage. Fresh indentations may disappear over time as the paper breaths but in all likelihood some mark will always remain behind. Old rubber bands that are stuck to a card can often be faked of a card’s back with little problem and the remaining material carefully scraped off. There may however be residue that has soaked into the papers fibers and will continue to do damage. The ink on a postcard’s front will often bond with the rubber band and flake off with it if removed. The choice here is to accept some damage or take it to a conservator for professional repair.
It is easy to avoid these problems by simply keeping foreign materials away from postcards. Even when in plastic sleeves the pressure from a rubber band or clips can damage a fragile card causing indentations or tears.
Postcard Sizes and Types
Postcard Sizes
Continental size: 4X6 inches (15 cm X 10.5 cm) Many of the new cards you purchase today are of this size. Mostly published after the 1940's.
Regular (or Standard) size: 3 1/2 X 5 1/2 (9 cm X 14 cm) Many of the older cards are of this size.
Anything larger than a continental size. Mostly 5X7 inches, but some can be found in larger sizes. Although this size of cards is popular with postcard companies and tourists, many collectors do not want them because they are more expensive, not easily filed, cost more to mail, and harder to trade with others. The advantage is of course the more detailed view of the scenes shown on the cards.
Modern size: These are about 6 1/2 X 4 3/4 inches. They are often classified as a smaller type of oversized card.
Postcard Types
View Cards
View cards have, since postcards began, been the mainstay of the collecting field. People have long collected and traded cards of their home towns and places they have visited. View cards offer historic reference to buildings, streets, and even towns which may no longer exist or that have changed significantly over time. Even views produced in the photochrome (chrome) era may no longer look the same. The earliest cards offer much in the social history of the times as we look at early forms of travel and the beginnings of telegraph, telephone and power lines. The messages written on the cards often give us insight as to the picture shown or the sentiments of the day.
Greeting Cards
The greeting card is almost as basic as the view card in the earlier eras, though as the time graph has shown, its popularity declined in later era's. Christmas, Easter, Birthdays and most other holidays and special occasions were well represented and are fairly common. However some greetings such as the "Labor Day" cards, are considered scarce. Today most collectors choose a topic within a specific holiday in order to limit their searches. For example some choose Christmas cards depicting Santa in green robes only. Early greeting cards are some of the most beautiful cards every printed. Publishers competing for sales, printed cards using intricate embossing techniques, high caliber art work, superior inks, expensive lithographic processes and even novelty additions such as glitter, ribbons, metal, silk and feathers.
Historical Cards
Historical cards are printed to commemorate events such as war, social problems, expositions, parades, coronations, politics and so on. These cards offer much to the serious collector in the way of increased value. This is a wide open field with much to offer anyone interested in twentieth century history. Often this type of card was made of a real photograph with few copies being offered for sale. This is especially true of disaster cards depicting floods, fires, wrecks, etc. Often the historical significance of a card comes form the message written by the sender.
Art Cards
The art card is probably the most important category in antique postcards. Unlike the view or greeting card, most art cards were special interest cards when they were printed and in most cases brought a much higher price. This rarity, combined with the skill of the artist of this period, make these cards very popular among collectors today. To better understand this popularity, think of these cards as 3 1/2" x 5 1/2" original high quality prints, which they are, instead of as postcards. No where in the world of art, does such quality material exist at such low prices. The postcard market, in the first decade of this century, was a very large business. Over $200,000,000 in pre-inflation dollars! This booming market drew the very best artists of the period, creating a wealth of quality material unmatched in the art world. Also at this time, some German publishers produced a series of "Old Master" art reproductions, the card's intensity and depth of color is without parallel as they spared no expense in printing the best.
Photographic Cards
Coming into their own recognition as art cards are the fantastic photographic art cards. These real photo art studies of beautiful women, children, lovers, etc., are often hand tinted in great detail and in colors which almost defy description. Also made popular were the photomontage techniques which allows photos to be altered into original art creations.
What makes a postcard valuable?
One person is interested in postcards picturing motels of the past. Another collector will search for postcards for a particular state, or country. The collectors more or less set the price by the extend of the interest in a particular card. Interest equals value.
Vintage and antique postcards are a very fun and affordable hobby and easy to collect. Prices vary and range from a few pennies, and may go up to hundreds of dollars or more for rare cards.
Age
Antique postcards date from 1800's when it is reported that J.P. Carlton won a patent for the first private postcard, cards produced up to around the 1940's then are antique, anything after that is considered vintage. An antique postcard will garner a much higher price than a vintage postcard.
Condition
These items could have gotten wet, or they may be dirty with age, they cold be wrinkled and folded. Look for cards that are in Mint condition, with no water damage, creases or damage. Depending on what kind of ink used, it can fade; pencil however does last longer than ink in some cases. People's handwriting can be hard to read. Postcards in mint-to good condition are easier to read, and ease of reading equals more value.
These antiquarian items are correspondence type postcards that were intended to be sent, received and then discarded. These were treasures sent from loved ones and friends, thus were saved over the years, usually for sentimental reasons.
If you have a collection of antique or vintage postcards, you might want to appraise the market value of your interesting hobby! Of course a professional appraiser may be hired for this thereby you will have the value of your investments in writing.
Knowledge is of course the first tool to seek. "Study to show yourself approved" in this field. Read reference books and consult with the experts on antique postcards, thereby you gain knowledge.
The Social History of Postcards
Introduction
Social history is the study of people and society over time. It is a way to look at people and their relations and how society organizes itself over time. Social history focuses on the behaviors of people and social patterns, such as values, and attitudes, of certain ethnic groups or areas of land. A postcard is a card sent through the mail at a lesser postage rate than a sealed envelope, which usually has a side with a picture and a side for a written message.
Many postcards were, and still are, made from photographs. Photographs can depict social history without words. They can show change over time in a certain area. Aerial views can be used to show the urbanization of a town into a city, or any other type of developmental, or demographic change. Photographs can also show the change in the styles of buildings, clothing, and transportation in different societies. Postcards can be an outstanding source of social history, because they show what was popular or seen as important in the area in which the postcard depicts. The photographs on the postcards themselves can show the changes of an area over time. Postcards are a good source of local history and can tell a story of a specific area. The postcards of Weirs Beach reveal the social history of the city over time. The collection of postcards includes those of landscapes, buildings, street scenes, people, the beach, and other important scenes of Weirs Beach. With the collection on this website, one will be able to see a glimpse into the life in Weirs Beach, past and present.
The picture postcard was not invented as much as it evolved from other sorts of cards. Playing cards were used as visiting cards during the 18th century in Europe. They were usually the size of a playing card and had pictures printed on them. Also, there was a space for the name to be printed on the front. Occasionally, messages were written on the back. In 1777, a suggestion was made by a French engraver to publish and send engraved cards through the post for a penny. However, this idea was not well-liked because servants or those who handled the card could read the message. Trade cards were also used in order to advertise a business.
Towards the end of the century and into the 19th century, the style of visiting cards changed. They became smaller, no longer had pictures, and had the names boldly engraved on them. As visiting cards went out of style, more and more people began decorating their writing paper and envelopes. The picture engraved as a heading for the letter would depict the area from where the author was writing. These pictures, which were extremely realistic, evolved into the first postcard.
The German government in 1865 initiated the thought of the first postcard. However the first postcard wasn't sent until Dr. Emanuel Herrmann wrote and published an article about the use of postcards. The Austrian Post Office was impressed enough to issue the first postcard on October 1, 1869. It was yellow and on the front had a two-kreuzer stamp on the upper right hand corner. Also on the card were three lines printed for the address. The message was written on the backside of the card. The postcards became extremely popular, as close to three million cards were sold in the first three months of sale in Austria-Hungary. The use of the post card spread to Belgium and Holland in January of 1871, and then onto Denmark, Norway, and Sweden. Then the postcard appeared in Canada, followed by Russia in 1872, and France in 1873.
The first postcard was issued by the United States Post Office Department on May 13, 1873. The marks for mailing on the card depicted the bust of Liberty and a circle with the postage amount of one cent. Most cards were used widely as advertisement in the U.S., until they were in general use after the World Columbian Exposition in 1893. Colored cards of the Exposition went on sale and they became extremely popular. On May 19, 1898, an Act of Congress was passed so that privately published postcards were given the same message privileges and rates as government issued cards. All those privately published had to be labeled as such. This marked the start of the Golden Age of postcards in the U. S., which lasted until about 1920, when popular use of the telephone began.
The reason why postcards became so popular is because of the price. Postcards cost less to send in the mail than a sealed envelope. When first issued and all through the Golden Age, postcards could be sent for one cent. Post cards were also popular because they were an easy way to keep in touch while someone was away from home or on vacation. Many postcards took the place of family albums with pictures of families on vacations.
While, postcards show the interesting areas of a certain place, they are also interesting themselves. Pictures can be sent from all over the world to those who have never actually been there. During the Golden Age, postcards were popular because people send a quick "hello" or show a friend or relative where they were staying for a small amount of money. Today postcards are still sent and collected for the same reasons. Weirs Beach postcards are interesting to view because they show the social history of the town. They represent what were standing during the time period, what is no longer there and the changes overtime.
Uses of Postcards
Why use a postcard? Why not a regular size piece of paper, you can fit more information on it? Postcards have many uses and they are not only used to write to a loved one or a friend. It is true; postcards are used to write to a friend or family member from a vacation. They can also be used to see a distant place that someone would want to go to. Postcards, in that sense, can be used as advertisement. Postcards can also be used as a way of showing that you are a tourist, by collecting them wherever you go. Along with these uses, postcards have also been used as propaganda during war times and for many political purposes.
Postcards can be a means to simply say "Hi." People often send postcards from vacation or use local postcards as greeting cards. Also, postcards can be used to show someone how nice of a time you are having on your vacation. Weirs Beach received a large number of tourists around the time of the invention of the automobile. With cars, people began to vacation in Weirs Beach using new streets that were developed. Here a postcard of an early-developed street is shown, and that is what many streets of the time looked like. Before postcards were developed, many tourists would have used a gazetteer. A gazetteer is a geographical dictionary containing any landmarks or specific attractions of the place a person is going. People would tend to look at a gazetteer before of after they went on vacation to see what they were going to see or what they did see. As tourism became a bigger industry, postcards became more popular as a way to show where you have been and where you are going.
Postcards also serve as advertising functions. As stated before, a tropical island can be shown on a postcard, and automatically anyone who looks at it wants to go there. For Weirs Beach, advertising could have been as simple as just a picture of the beach to attract tourists. Here an aerial view of Weirs Beach is shown. Even if one’s vacation was dreary and filled with disappointment, postcards still portray the beauty of the vacation spot. Also it would help to make your tourist dream come true.
Postcards can also be used as a means of communication. There are two aspects of communication within a postcard. The front of the postcard contains the picture, which visibly shows where a person was. Most importantly, the back includes the writing. Postcards can be used to send a note to check up on someone or just say hello. Another use of postcards is as a collector’s item. Here a picture of Endicott Rock is shown which would be a great postcard of a landmark to collect. Collecting postcards was a common pastime and still is today. Many people collect postcards to learn more about history. Modern postcards can be compared to one from hundreds of years ago to learn more about lifestyles back then. Postcards portray how people used to dress versus the present. As you can see, many families wore mostly black attire as well as long dresses.
Architecture is another aspect of why people collect postcards. Buildings today have changed from those of the past, which you could see using these architectural postcards. Historical buildings are an important factor to find out about different jobs or businesses of the time. Deleted.
Improvement of buildings is another aspect where postcards can be used. You can take a postcard of a building from fifty years ago and compare it to a picture of a building now and see the major improvements. Postcards are a great source for any historical information needed.
Postcards have been used as propaganda during war times. For instance Uncle Sam may have been used trying to persuade people to get involved in the war efforts. As for politics, postcards were used to show who was running and to tell people who to vote for.
Many people think that postcards are just something that gets sent to friends when they go on vacation. Although that is true, one can see there are a number of other reasons. The most common people who would use postcards today would be historians and postcard collectors. Historians would use postcards to learn more about cultures and lifestyles of the past. For example, comparing the dress of people or the crowded streets of a city. Individuals who collect postcards may do it as a pastime or they may be interested in social history.
Lost Weirs Beach
Throughout time, Weirs Beach has undergone many transformations. Postcards are an ideal approach to portray these transformations. Deleted. Modern Weirs Beach looks extremely different from its earliest establishment. Deleted. The three types of transformations Weirs Beach underwent were industrial, landscape and architectural changes.
The most famous industrial change was the establishment and then the abandonment of a brickyard on Brickyard mountain.
Two major landscape transformations were Lakeside Avenue and the public beach. Lakeside Avenue was once a meadow, while the beach was once open water. Deleted.
Lakeside Avenue has also changed drastically over many years. When looking at a postcard of Lakeside Avenue from the late nineteenth century, it is difficult to believe that this is the modern day Lakeside Avenue. This postcard shows tracks on the dirt road. This is because trolleys were one mode of transportation during this time in Weirs Beach. Automobiles were not commonly present in Weirs Beach in 1890 therefore there were not any parking meters. Present Lakeside Avenue is the center of downtown Weirs Beach and is always busy. Because of the many shops along Lakeside Avenue, it is difficult to find parking. When parking is accessible, it is aggravating to pay the meters. The people from 1890 luckily did not have this problem.
Another example of "lost" Weirs Beach is the New Hotel Weirs. This hotel no longer exists.
From the time Weirs Beach had been founded until the present, many changes have occurred. Lost Weirs Beach can be defined as what is no longer physically present as well as major transformations Weirs Beach has undergone. Postcards serve as primary documents that depict "lost" Weirs Beach. They are a great way to show aspects of old Weirs Beach versus modern Weirs Beach and also shows elements that are no longer present.
Use of Colorization
Colorization is the process that is used in postcards in which the photograph on the front of the postcard is sent to other countries to enliven the photograph with color, making it more attractive to the consumer. Before postcards were printed in color, greeting cards for certain holidays such as Christmas and Easter were colorized. The first firm for color manufacturing was in Leith, Germany. Called "Lundy", they were the first ones to start printing business messages in color. Soon, color was what people liked most about postcards. Although the first postcard was published on 1869 in Germany, it was not until 1893 that the photos on the postcards were colorized. The popularity of colorization arose when the postcard act was changed in 1898. It transformed the postcard regulations, the development of postcards and the color was changed to beautify the postcards and make it a more profitable product. After the colorization of postcards the postcards sold in stores became more successful than ever.
Publishers often sent their photographs for postcards to India and Italy. These countries specialized in using exotic colors on photographs to catch the eye of the common person. At first this was an ingenious idea, but it caused many problems later. All the postcards were sent to Europe and India because there Lithography was an art. Since the people in India and parts of Europe had never been to Weirs Beach before, when they received the postcards to be colorized they used their artistic imagination. They used lush colors , although the photos were extravagant one could usually see that the colors were not accurate with the photo. Tourists could see a certain photo of a landmark in Weirs Beach and be disappointed because the colors of the original landmark were completely different from the photo. In these two pictures, the first depicts a photograph of the New Hotel Weirs in black and white. The second photo depicts the same picture in color, but it is not accurate. Looking at the building the viewer can clearly see that the New Hotel Weirs was not blue. It is a duplicate of the original picture because deleted the whole scene is exactly the same. Deleted. This shows that in the twentieth century for postcards, people did not care about the authenticity of a photo on a postcard, but only the attractive colors that intrigued the consumer.
The photographs deleted show how colorization could make the ordinary look like paradise, even though it was not authentic. Deleted. The more color that was used the more people were attracted to the place on the photo.
Today when postcard collectors and historians are looking at pictures of Weirs Beach they prefer the photos that are in black and white. They find them more genuine and Precise. The colorized postcards are useless when trying to find a historical landmark. In the twentieth century colorized postcards were a fad, but today there is a certain nostalgia for postcard that is in black and white. The colors that once seemed remarkable and beautiful are now unreliable and artificial.
The Dynamics of Weirs Beach Postcards
The dynamics of postcards have evolved greatly over time, changing their overall look. There are some postcards that look much different then those from the time of their creation. The sizes, shapes materials, and the overall set up have all varied over time. Some of these changes affected Weirs Beach, while others didn't. Weirs Beach had its own dynamics of postcards as many other places did.
Postcards as you may already know are not very large. They have always been rather small since their creation. Early on in the life span of the postcard there was a standard size widely used in the United States of 3 1⁄2 inches by 5 1⁄2 inches. Almost as large as the majority of modern cards which are approximately 4 inches by 6 inches. Deleted. Not all postcards have to follow these size restrictions, and there are many exceptions to these rules, but for the most part these are the sizes of postcards.
There are many differences on the front and back of the Weirs Beach postcards. One thing that was always the same on the back of the postcard was the area for the stamp in the top right hand corner. It remained in this spot throughout all the changes and remains the same to this day. The earlier cards used the entire back of the card only for the address only, reading "This Side For Address Only". To compensate for this lack of room to write on the back, the majority of these postcards had an area to write on the front, this area was blank could be found on any edge of the card. These cards could be of anything deleted. Some, however, did not have any space to write which left people scribbling over the picture, or writing in the empty sky. As time went on the law restricting writing on the backs of postcards was lifted and a new appearance of the back was introduced. This new appearance had a line splitting the left and right sides so that the right side could be used for the address and the left for the message. After this happened the percent of cards with a space on the front dropped greatly. A rather small number of cards had lines or the address, the non-divided had the least percent, but it seemed that more of the more recent, divided back cards had them.
Older postcards had no color when the photo was originally taken. The only way to have color postcards was to ship them overseas and have them colorized. For this reason, many were just left black and white or an odd shade of brown. The ones that did have color seemed rather phony, and the color schemes were unrealistic deleted. Many don't just look unrealistic but they look almost hand drawn. They are of streets in Weirs Beach and other places of interest such as the gas station or post office. The more modern cards can be, and are taken in color. There are a few that are black and white, maybe to give a more authentic look. The most recent cards have the best color and have views that were not obtainable at earlier times. This comes with the invention of the helicopter. There are many pictures of the waterfront and other spots that can easily catch a person's eye.
Deleted. Many of the Weirs Beach postcards were made out of a stiff piece of thick paper. This was the same for most cards but there are some cards out there made from birch bark and other strange materials.
What's written on the back?
A telephone call today is equivalent to the postcard of the early twentieth century. Postcards were used to convey everyday messages. This occurred not only in large cities, but also in small towns, such as Weirs Beach where people communicated primarily with postcards. A scribbled message was worth a thousand words, as a whisper is worth just as many interpretations.
In one such postcard dated 1942, questions arise as to what was really meant by the author's quick message, "Will see you in about 1 week deleted. Hope your mother is well. Are you satisfied with the way you are treating me?" followed by a "kind regards to all"? There appears to be evidence of irony in this conversation. We only catch a glimpse into their world, and find ourselves being detectives, trying to uncover the mystery of their lives. Is there a deeper meaning? Perhaps a secret code derived by friends or lovers, to prevent strangers from unrevealing the hidden message within the lines? Yet our first impulse would be to ask who would go through all that trouble to scribble this onto a postcard, when wouldn't it be more private to speak of such matters in person? However, whoever wrote this message was without the luxury of a telephone.
The backs of these sometimes-plain postcards carried messages, whose real meanings may have remained a mystery to all except those whose eyes were meant to read them. Their words ranged from boring, ordinary how-do-you-dos to exciting, life altering news, worth the attention of the maids. One friend wrote to another in Boston, "Dear Isie- I Am in Weirs Beach at present, but Billy Taft wants me to visit him next. Don't you wish you knew him too? Be good and have a handsome time." However, messages as such were not so common. The usual message asked the recipient how they were, what they have been doing, and then told a brief description of their present life, nothing out of the ordinary, for the most part.
Punctuation, grammar, and spelling were paid less attention to, as postcards became more and more popular. People began to favor a less formal message system, rather than one of stiff letter writing, especially by the younger generations, who did not quite know how to follow the strict regulations of the proper form and etiquette of a formal letter. It became acceptable, and almost appropriate to converse using this simple way of communication. "Your photo received ok. We think it very good intended to see you before this but will some time soon." A quickly scribbled message, not restricted by punctuation or clear thought; an acceptable postcard in 1911.
Communication by postcards was not always so simple. When first introduced, the postcard was used more frequently as an advertising tool, rather than a communication device, and followed many strict rules related to size, form, and dynamics. Prior to March 1st 1907, the postal law stated that no words other than the address were to be written on the back of postcards. However, society was much too eager to be restricted by this limitation, and did not dawdle in their want for change. They insisted on using the space intended for the lovely picture on the front, as their letterhead. This appears to answer the question of why any postcard found before 1907 has no split back, and why words are often scribbled across Weirs Beach's scenic treasures. This also explains why some postcards contain no words, but are simply mailed to a friend, for the benefit of the card, to add to one's collection.
To classify postcards into systematic time slots, there are more than merely dates, which are capable of this task. The language, for instance, used during the turn of the century, was more carefully laid out and enunciated, than the diction of individuals during the mid-century. A postal written in 1909 reads: "Perhaps we won't see you as we are at Weirs Beach for the day." It's language flows elegantly, like a poem. A look at a more recent postcard shows the change of cultural ethnicity, written to a friend between the late 1970's to the early 1990's. "Hey Erin what's up! Im having fun down here just chilling in the sun maxing. The beach is gorgeous deleted you should come down and see. Well. By yours truly DEL.H"
It is sometimes hard to decipher what a person wrote one hundred years ago. A slang word, which may have been everyday then, is now a complete mystery today. The cursive of today has strayed away from the Old English language of a few hundreds of years ago; however, it was still visible during the early twentieth century, especially how a capital " F " or "J " was strung. A jumble of letters to us, formed a word to them, or perhaps an abbreviation, which is no longer used.
The telephone is the center of our universe, connecting millions of people from all corners of the planet. We communicate, taking this luxury for granted. When the postcard was first introduced, people's thoughts could be passed from one to another without leaving one's home. Just as we do, they took this new communication for granted, as theirs words were like the voice we now hear on the other end of the telephone, or even more recently, the pop-up chat box online.
Postcard Publishers
When you think of what's on the back of a postcard one usually thinks of an address and the quick letter one writes to one another. The written messages wrote to one another in the nineteenth and twentieth centuries is both interesting and intriguing, however, most people would not think publishing companies fit this criteria.
Although publishers are neither interesting nor intriguing they are very helpful. The names of publishing companies and when they were in business can be extremely beneficial. The name of the publisher is located on the back of the postcard usually vertically written on the left side. The basic identification of postcards begins with the publisher. Postcards can be dated using the time the publisher existed and was in business. If a collector comes across one postcard, which is part of a set, and he wants to find the rest, it is easy to do so if you know the name of the publisher. Most do not realize how useful knowing information about publishing companies can be.
Since postcards originated in Austria, publishing companies formed in Europe before they did in America. The major publishers in Europe were Wolff Hagelberg, Raphael Tuck and Sons, and Marcus Ward and Company. Wolff Hagelberg was from Berlin Germany and printed some of the more beautiful postcards. He is known for using poems in his cards by E.E. Griffon and M.S. Haycraft in the mid to late 1800's. Raphael Tuck and Sons had publishing houses in Paris, London, and later in New York. They are most famous for publishing cards for the King and Queen of England. While they were in business from the mid 1800's to the early 1900's they published postcards but also books, die-cut cards, fringed silk cards, and scrapbooks. From the mid 1860's to the mid 1890's Marcus Ward and Company published postcards in London, England. They published high quality decorative Christmas cards from that time.
Soon the United States caught on and publishing companies started to spring up in the U.S. Deleted. Some of the more famous publishers were The New England News Company, The American Art Postcard Company, The Tichnor Brothers Incorporated, The Hugh C. Leighton Company Manufacturers, and the most recognized The Detroit Publishing Company.
William A. Livingstone and Edwin H. Husher formed the Detroit Publishing Company in 1898. They were the owners to the American rights to a process for lithographically adding color to black and white negatives. The process was known as photocroms or later Aac, and it permitted the mass production of postcards. In the fall of 1897, Livingstone persuaded William Henry Jackson to become a partner in the company. Jackson was a landscape photographer and they added the thousands of negatives produced by Jackson to the Detroit Publishing Company's inventory. By using Jackson's file of negatives and the photocrom process to make Jackson's black and white negatives colorized they became one of the largest American publishers of postcards. The Detroit Publishing Company issued thousands of high quality photographs showing buildings, historical sites, natural landmarks, sports activities, and more. With the declining sale of photographs and postcards during World War I and the introduction of new and cheaper printing methods, the Detroit Publishing Company went out of business in 1924; but not without first leaving an important imprint on the country. By mass-producing their postcards, The DPC allowed many Americans to view places in America that before postcards and the photocrom process existed people would not have been able to see in such color and perfect detail.
Information about publishing companies is extremely helpful to postcard collectors. Publishers can aide in many different things such as finding a particular postcard one desires, dating postcards, and/or find a particular type of cards, an example of this is Christmas cards or a publisher that specialized in the work a of a certain artist. Obviously publishers do not appear to be important although when you think of the bigger picture you discover that publishers were and still are very important.
Subscribe to:
Posts (Atom)