In 1973, New Jersey’s favorite son, Bruce Springsteen, used a linen Tichnor postcard (although with a more generic, and boring, background) for the cover of his first album, making it the most recognized large-letter postcard out there.
From the 1930s through the 1950s, tourists taking their first road trips in their newfangled automobiles would frequently stop along the way to pick up a few colorful postcards to mail to the folks back home.
The most popular form of eat-your-heart-out greeting was the large-letter postcard, which had been around since the first part of the 20th century but whose heyday was during what we know today as the linen-postcard era.
Made of textured paper rather than actual cloth, linen postcards were printed by companies such as Curt Teich & Company of Chicago, Tichnor Brothers and Colourpicture of Boston, E.C. Kropp of Milwaukee, Beals Litho & Printing of Des Moines, and Dexter Press of Pearl River, New York, among many others.
Their souvenir postcards for states, cities, military bases, and tourist attractions were usually heralded at the top by the words “Greetings From,” below which were large, blocky, dimensional letters filled in with illustrations or photographs of the destination’s most scenic or noteworthy sights.
Radiations of color was a popular background treatment on many large-letter postcards. This Fargo card was printed by Curt Teich in 1942.
Since 2009, the primary resource for fans of this popular postcard genre has been “Large Letter Postcards: The Definitive Guide, 1930s to 1950s,” written by Fred Tenney and Kevin Hilbert. Published by Schiffer, “Large Letter Postcards” features more than 2,200 examples, from several dozen versions of Atlantic City cards (Curt Teich’s first linen large-letter) to cards for Coney Island, Niagara Falls, and Death Valley.
Also included are several examples of how large-letter postcards were created, from the card’s initial sketch to its final design, courtesy of materials loaned to the authors by the Curt Teich Postcard Archives.
Hannibal, Missouri, is the birthplace of Samuel Clemens, who can be seen within the letter A. Printed by Curt Teich, 1944.
Cultures have enjoyed sharing written New Year’s greetings for centuries. The English-speaking ritual of sending holiday cards, however, dates back only to the middle of the 19th century.
Some sources say it originated with Thomas Shorrock, of Leith, Scotland, who, in the 1840s, produced cards showing a jolly face with the caption “A Gude Year to Ye.” a Guid New Year
Credit more commonly goes to Sir Henry Cole, who would later become the first director of London’s Victoria and Albert Museum.
He commissioned an artist to create 1,000 engraved holiday cards in 1843. Cole’s greeting featured a prosperous-looking family toasting the holidays, flanked on both sides by images of kindly souls engaging in acts of charity.
A caption along the bottom read, “A Merry Christmas and a Happy New Year to You.”
The world’s first commercially produced Christmas card, designed by John Callcott Horsley for Henry Cole in 1843
With advances in printing technology and mail service, the practice of sending commercially produced Christmas cards caught on.
By the 1880s, it was an integral part of the holiday season for many American families as well. In “The Female World of Cards and Holidays: Women, Families, and the Work of Kinship,” Yale anthropologist Micaela di Leonardo explains that the practice thrived amid postbellum industrialization and the demise of the family farm.
As relatives spread out geographically, women assumed responsibility for “the work of kinship” and became caretakers of extended family connections. Christmas cards were a convenient way for them to nurture relationships among their husbands, children, and distant relatives.
As the Christmas card habit took hold, manufacturers rushed to meet demand. Best known was German emigrant Louis Prang, who produced attractive and reasonably priced chromolithographed cards for the mass market. He is often referred to as the father of the American Christmas card.
Not all manufacturers were as concerned with quality. Many of them relied on trite and overly sentimental images to decorate their greetings.
In 1885, The Decorator and Furnisher magazine criticized the industry for its ubiquitous imaginings of “pantaletted young ones” singing in snowstorms and “angels floating in mid-air bearing a baby.
Such tiresome subjects, the article lamented, created “no agreeable sensations.” Also troublesome were the poor production values.
That same year, The Art Amateur magazine faulted a British manufacturer for offering a card that featured the image of a cherub whose head was “too intangibly connected with her body even for a disembodied spirit.”
Industry critics predicted that the American public would soon tire of Christmas cards. But then, in the early 1900s, improvements in image reproduction technology allowed the greeting-card market to surge to new heights.
In 1900, The British Medical Journal applauded a new series of Christmas cards with “platino-panel reproductions” that resembled photographic prints. The variety of subjects featured on the new cards also increased—sporting themes, landscapes, and patriotic drawings of men in regimental uniforms.
Anthropomorphic birds and animals were another popular theme, as seen in this Christmas Reversed scene, where raw dinner ingredients get in a party mood.
Sending Christmas cards was a habit popularised by the Victorians, helped by the introduction, in 1840, of a uniform penny post.England’s first commercial Christmas card was printed in 1843, and is in the Laura Seddon collection at Manchester Metropolitan University.
Here, is a selection from its archive.
Showing that there’s little new about the tactics of trick-or-treaters, a group of festive musicians make their presence known, and demand beer.
This classic card was designed by the children’s book illustrator Walter Crane, a prominent member of the Arts and Crafts movement.
All Photographs: Ade Hunter/Manchester Metropolitan University
When Walt Disney’s groundbreaking Snow White and the Seven Dwarfs was released in 1937, it was accompanied by one of the largest publicity campaigns in film history.
A wide variety of posters, banners and standees were created for distribution to theaters all over the world.
Many of them are highly sought after by collectors today, but none more so than the elusive 24-sheet billboard.
Made from 24 sheets lithographed separately and then knitted together to form three character groupings spanning an incredible 19-and-a-half feet in width and 9’11″ in height, only a few of them were ever produced and only one of them is known to survive.