Category: Postcard Sets

Card Crossings

A magic carpet takes us to a far away photo show, and a beach scene brings back old memories.

Nina found Mrs. Hanabusa in the common room sorting groceries into cloth bags. The postcard was still in Nina’s hand—a Navajo textile in geometric patterns, black and white against red wool.

“Let me help,” Nina said, taking two bags.

Mrs. Hanabusa glanced at the card. “From your friend? The one who went to Taipei?”

“She just arrived.” Nina turned the card over.

Made it. Everything moves faster here. First night was a photo exhibit on Mt Nunhu. Already miss the slow mornings. —N

Funny, Nina had received Nora’s text with images from the show that night, long before the postcard arrived in her mailbox here in Tucson.

They walked to Mrs. Hanabusa’s room. Nina set the bags on the small counter. Mrs. H studied the postcard, her finger tracing the pattern.

“My grandparents had one like this. Hung in their house on the flower farm.” She paused. “My grandmother found it at a trading post in the twenties. She said the geometry reminded her of Japanese family crests. Clean lines. She hung it in the room where they did arrangements.”

Mrs. H’s voice stayed quiet, remembering. “After the war, when we came back from the camps, the farm was gone. But a neighbor had saved some things. The rug was one of them. Grandmother cried when she saw it. I was small, maybe seven. I didn’t understand then what it meant to get something back.”

She opened a drawer, pulled out a small wooden box. Inside lay perhaps a dozen postcards, all showing Ikebana arrangements with low, horizontal compositions in shallow containers. Pink and red cosmos rising from a white porcelain vase. Allium gigantium’s perfect spheres balanced with small lantana blooms. A giant monstera leaf with a canna lily and a white chrysanthemum.

Mrs. Hanabusa handed Nina the stack of cards. She flipped through slowly, admiring each floral design.

“My sister sent these from Osaka. Our grandmother taught the traditional way. These are more like her arrangements, traditional but made new.”

Mrs. H pointed to the one with the iris. Nina looked closer. The composition was deliberate. Bold strokes against a spare background.

“Your friend will send you more postcards?”

“She promised,” Nina replied.

“Good,” Mrs. H smiled. “We get bored without friends.”

George had haunted thrift stores his whole life. Mostly he looked for tools—socket wrenches, levels, hand planes that still had their blades. Things he could use or restore.

Now he looked for postcards too.

The Goodwill in Red Wing had a basket of them near the register. Fifty cents each. He sorted through slowly. Tourist shots of the Badlands. A faded view of the State Capitol. Then he found a few good ones.

A real photo postcard showing Lake Pepin framed by trees—”Father of Waters” etched in careful script. The water stretched wide and calm, clouds massed above the bluffs.

A color card of Minneapolis Public Library, the old red brick building with its round tower and arched windows. George remembered when they torn it down in 1951.

A chrome card showing a white horse leaning over a fence, red barn and farmhouse in the background.

And then—George stopped. Sugar Loaf Mountain near Winona. A beach scene, families on the sand, kids on playground equipment, swimmers in the water. The mountain rising behind them.

He was transported to that very day. Their family had been right there, doing exactly that. The kids running between the beach and the playground. The particular blue of the water. How his wife had packed sandwiches that got sand in them and nobody cared.

George bought all four cards. Two dollars total. At home he examined them under the desk lamp before he got to thinking about each message.

He wrote to Emma:

Found this real photo from Lake Pepin. “Father of Waters” they called it. Your wanderlust comes honestly—this river goes all the way to the Gulf. Love, Grandpa

To Jack:

Get to the good old libraries while you can. This one is gone already! Love, Grandpa

To Lily:

See how the fence posts get smaller as they go back? That’s tricky to draw! Give it a try. Love, Grandpa

He paused at the fourth card, and let out a small sigh. Sugar Loaf Mountain, seems like another lifetime. Finally, he wrote:

This one is for you, kiddo. Reminds me of you and the guys and Mom. Fun times! Love, Dad

George added addresses and stamps. Put on his coat and walked to the mailbox, a short stretch of the legs that he now enjoyed. A chickadee called from the pine tree across the street—its clear two-note song cutting through the cold afternoon air.

wake up with wanderlust, too?

Though the story is fiction, vintage postcards are still a fun way to explore.
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Mailbox Moments

Nina makes a long distance deal with a dear friend, and George finds a new use for old memories.

Nina arrived early at the coffee shop near campus in Tempe. The drive up from Tucson was faster than she expected. Nora slid into the booth at 9am sharp. “You’re glowing,” Nina said.

“Nerves.” Nora grinned. “Two years in Taipei, three weeks to learn Mandarin.”

They ordered. Nina nudged a package across the table. She’d wrapped the book of postcards the night before, Navajo Textiles, each page a detachable card with a different striking design. Almost too good to take apart.

Nora opened it and smiled. “These are perfect. They will remind me where I came from. And, we can keep them! I’ll send them back to you.”

She flipped through the cards. “My grandmother did this. Sent us postcards from every trip. Maybe that’s why I love to travel.”

“I want to hear all about it,” Nina said. “Something to look forward to in the mailbox.”

“Deal.”

They talked until Nora had to leave for meetings. Nina hugged her friend outside, watched her disappear into the parking garage. On the drive back to Tucson, she thought about when she might travel again. Someday.

In Minnesota, George came across a box of old stationery while cleaning out a drawer in the office. He’d been ignoring this stuff too long, but it had to be done. He was surprised to find a bunch of notecards and envelopes, postcards from their own travels, even some stamps. Jennie must have tucked them away years ago, then forgotten.

He shuffled through the stack, smiled, and thought about their grandchildren.

Emma, sixteen, newly licensed, texting him sunset photos. Jack, thirteen, reading everything, and his own library growing. Lily, nine, from whom he routinely received animal drawings in manila envelopes.

He wrote to Emma first:

Found this sunset and thought of you – keep your eyes on the horizon! Love, Grandpa

Then, to Jack:

You can find a library in every place. Hope you go some day, and your collection grows. Love, Grandpa

Finally, to Lily, though his hand was aching:

For my favorite artist: a cat to inspire your next drawing. Keep sending pictures. Love, Grandpa

He addressed the cards and peeled the Forever stamps from their yellowed backing. The afternoon sun was glinting off the glassy surface of the snow as George walked down the drive and out to the mailbox. These should get there before Christmas, he thought. Next he’d knock the icicles off the eves over the porch steps, then make dinner.

thoughtful gifts under $15

Though the story above is fiction, a book of postcards is still a great gift.
Browse the selection at our eBay store

Kitsch as Kitsch Can

Sifting through the stacks this season, in search of levity and brevity.

Oh dear, a trove of kitschy postcard sets has appeared in The Posted Past studio. Careful opening boxes around here. I’ve been sorting and stocking the store this month, getting ready for the holidays.

Most of these vintage finds make thoughtful gifts for nature seekers, travelers, and art lovers. Some make for big belly laughs, too. Quit your job for two minutes and follow me.

Graphic novelist Paul Hornschemeier gives us thirty So-So Heroes, like Amalgamonster and Biggeespeare, in a nicely packaged postcard set. Bound to scare your friends, a little.

This next collection by fine artist and designer Rex Ray feels like a festive fondue party in a retro-future living room. Witty banter, wry smiles, and wood grain. Get your sweater sets.

I am Yours from Seattle-based artist Joe Park comes with a neatly-placed curatorial note from Robin Held and a lovely literary sketch by Jen Graves.

“You have seen these folks before–even if you don’t know where”

The collection does feel like finding a tiny gallery all to yourself, and a weird world of bears and bunnies. Worth the trip!

Stay Tuned by Nathan Fox is a visual romp through the artist’s fantastical funhouse. Eye-frying colors and psyche-stained scenes will make you feel like you woke up on the other side of a paranormal universe.

Anything pre-Y2K is officially vintage now. Not funny, I know. These Golden 50s throwback designs make it even worse. You’ll be thanking your lucky leg-warmers we made it out ok, mostly.

Check out the new holiday gift vibes

Fresh selections every day!

Ancestors Radio

Dial into this easy listening station from your heart.

In the quiet hours after he died, I heard Dad’s voice clear as a bell inside me. Left chest, near my heart, broadcasting from a heavenly radio station.

He’s not an advice line. More like a tinkling piano in an airport lounge where it’s always sunset or sunrise somewhere.

It’s not just him. My grandmothers have a talk show, conspiring on our behalf from the front porch of a woodsy cabin. Some of my aunts are traveling the span of the universe on magic carpets, and sending back reports.

Dear Bob, Thank you very much for the card. I am in nature and a play now. Please Write Me. xo xo Love Sally xo

Sally writes to Bob from stayaway camp in upstate New York

Ancestors Radio is on in the background all the time. I put on piano music in the house to dial in. Humming along and half-listening, I grasp what I can, especially as it relates to family stories and postcards. Little magic carpet rides, too.

We’re into a new season of wonder, now. Awe is on the air. Stay tuned!

Holiday Gifts Under $15

A Book of Postcards Makes a Great Gift!
Send Love from AZ this Season!

Catch Up on The Latest Series

People Past

Last week, buildings emerged and oil derricks erupted. Evidence accumulated, context implied. An unknown town takes shape and we surmise. Now, people stare across a century and time flies.

Seven adults carefully arranged on a rocky outcrop. Three men, four women. Two children in white dresses seated in front. Twins? Cousins? Someone operated the camera.

We see the composition and relational questions arise. Are they family? Kin? Friends on an outing? Do the poses suggest occasion, or documentation?

Evidence ends and story begins. We fill in by reading subtle cues in how they stand, who touches whom, which faces seem to fit together. Clues come quietly and mistakes, too. Always, we’re revealing ourselves.

Here we see one girl, three moments, and years passing. The baby stares out with solemn intensity. Then she’s older, on a throne in white dress, commanding the frame. Finally she’s the eldest of four, and her protective gaze tells all.

The postcards show her time moving, roles shifting. She grows and gains presence. She becomes a big sister, then a bigger sister still.

The postcards show the sequence and the story intrudes. We can safely assume the scenario, the kinship, the birth order. But then we imagine her. She and her siblings stand as evidence. We provide the narrative.

Now nine men, perched around a large rock on uneven ground in a forest, maybe a park. Hats, a variety of ties, white shirts in sunlight. Ages range. Some engage the camera. Others look away.

Compare this to the first photograph. Similar outdoor setting and careful arrangement. Same paper stock, same photographic quality. Do any faces repeat? That man in the center looking off to the distance—could he be the man on the back left of the family group?

We squint. The shape of a jaw, the set of shoulders, the tilt of a head. Errors lead us toward other observations. Misreads become clues. We’re searching, and trying out plausible connections.

A different girl and a similar progression (maybe). The baby carriage can be dated within a range, 1915-1925. Fashions shift slowly in some places, rapidly in others, but period details do show. Those bows!

However, uncertainties hover. Is this the eldest girl growing up? Or, are we forcing connection where none exists? The bobbed hairstyles might give it away. Or they might mislead entirely.

A particular stare, a nose ridge, an anomaly at the jawline, and we are on the pursuit again. The faces echo. Three generations, or two. We assign roles: son, mother, daughter. Sisters?

The oval portrait shows four women arranged in a formal cluster. Elaborate hairstyles, high collars, cameo brooch visible on the seated figure. More prosperous, perhaps. Different family entirely, or different branch? Is she at the center the same as the older woman below? We cannot know.

In between the guesses, a different story emerges entirely. Our own families, and that we belonged. Or, that we confidently walked on. In either case, we are humming with history.

We’re deep in assumption now. Building genealogies from facial features, paper stock, and similar poses. The archives encourage it. These cards traveled together. Someone kept them together. The connections existed, however disassembled.

Another baby carriage, different from the first. And on the back of the card, handwriting: this is Irene with Willie’s baby, sent to Aunt Fannie. We know Irene from when she was four, seated with Uncle Rufus Dale, 84.

What satisfaction, when a storyline clings together. Names accumulate. Groups delineate. Relationships clarify. The archive speaks back, and the story begins to imitate fact.

The search becomes research. The archive rewards our attention and budding accuracy. But, who doesn’t love Aunt Fannie? Even if we’ve never seen her.

Now, here is Irene amid two new figures who appear to have a strong bond. Sisters? Friends?

As we might expect, there is more to reveal. Next week, we’ll look at pairings in quite a variety, and even more merry misleads. Then portraits, and finally, a grave.

Property Past

Tricky, sticky stories arise at the sight of buildings in the landscape. Evidence (or absence) of us along the way.

As landscapes, last week’s real photo postcards (RPPC) asked for nothing. Trees, frozen roads, animals burrowing in snow—they floated free of context. We could easily appreciate them without knowing where they might be.

Buildings are different. A structure says someone decided, planned, risked, and accomplished. They hauled materials, drove nails, painted trim. Buildings demand explanation in ways that hills might easily demure.

Reading postcards slowly reveals patterns. The undivided back means pre-1907. The real photo process suggests a local photographer, or maybe an itinerant professional documenting a place too remote to the reach of commercial postcard companies. Paper stock, indicia, stamps and cancellation, faded handwriting and previous labeling, even image placement and crop—these technical details narrow the place possibilities.

But they don’t yet answer another question: Who are Robert and Paul?

Tell Robert the dog lying down is mine and the one standing up is Paul dog

What We Might Know

A two-story house with a generous porch is carefully centered in one photograph. Mature trees in the foreground. Curtains hang in the windows. Someone lived here and wanted to show their pride. Or, was it for sale?

The architectural details offer more clues. Clapboard siding, stone or brick foundation, decorative porch elements—not fancy, but intentional. It seems to be in a neighborhood with sidewalks. In an era between 1900-1920, somewhere in the Midwest or West judging by lot size. Also, a fire hydrant.

The windmill in another image dates itself. Windmills were an important utility and industry, and that style had a particular era. The house beneath it—elaborate Queen Anne with corner turret, ornamental shingles, and ornate columns—speaks to aspiration. Someone had big plans. This is visible evidence. When and where becomes roughly recognizable.

But, the people who stood on that porch remain absent and enigmatic. Who were they? What is happening here? A creative tension is mounting between the realm of evidence and the pull of story.

Sensing Stories

Two women stand in front of McMann Boarding House wearing identical striped dresses. The building is simple—board and batten, minimal trim, the kind of structure that goes up first and fast in a growing place.

The photograph has a vertical tear, the exposure is bad, and time has degraded it. But the sign remains legible: McMann Boarding House. Finally, a name.

Who was McMann? Who are these women? Employees? Vacationers? The photo is both casual and deliberately staged. What might the matching dresses mean? Pride? Subjugation?

Reading their faces, we fill in the narrative, almost immediately and sometimes inescapably. Relationships, motivations, futures take shape unbidden. This is exactly what we both invited and warned of last week—making it up. Always dangerous, sometimes worthwhile.

The impulse to story is nearly irresistible. A name on a building. Two women in matching dresses. The space around the postcard lights up. Are these their stories, or our own, or a magical projection that folds time?

When the Past Chats Back

Shuffling the stack, several cards in this collection start speaking to one another. Same photographic quality. Same paper stock. Similar landscape—flat, spare, newly broken. And most telling: similar structures in states of becoming.

Laid out together, the pattern emerges. Houses with stone foundations and wraparound porches. An elaborate Queen Anne with a windmill. McMann Boarding House with its two women in matching stripes. A lunch room with an immaculately vernacular grand porch. Best-dressed proprietors standing proud. A girl and her horse, bare buildings behind her. A picnic under the canopy of a large tree.

Also, a massive plume of black smoke billowing skyward, an oil derrick to the left, eight or nine men grinning toward the camera. The photograph stops everything cold. They struck liquid gold. A triumph worth documenting. Fine lines of the plumes etching through the darkest black.

These eleven images are a cluster from the same story—a town emerging around oil. Homesteaders and entrepreneurs arriving in a place that may have been open prairie five years earlier. Building homes, businesses, infrastructure for both industrial productivity and social life. Documenting the process with real photo postcards, for themselves or to send East. Their message: we have arrived safely and are in luck.

From Here to Now

This is a founding, the moment a place began and the stakes changed. These aren’t isolated buildings anymore and oddly they seem less like photos, too. We know there is a community taking shape and the evidentiary questions multiply. Who were they, by name? What brought them here? Did this place survive or vanish?

And harder, deeper, more consequential questions: Who lived here before? What animals and habitats were displaced? What did the derricks do? For them, and also to us.

Boom town logic. Extraction economy. Infrastructure dependencies and family injuries inherited. Cultural degradation, and environmental costs still being paid. This isn’t quaint history. This is the beginning of something we’re grappling with today.

Suddenly our imaginative stories contract and we now seek facts. The boarding house proprietor’s daily life can be imagined, but not separated from a place built on oil speculation. The architectural ambition of that Queen Anne deserves appreciation, but it went up in a town that might have lasted ten years or a hundred, depending on the wells. The buildings aren’t innocent, and we are implicated.

More in Store

Another stack of postcards might be related to this cluster—similar age, similar style, possibly the same region, likely at later dates. And then a few unrelated ones, probably European based on the architecture.

Not every fragment connects or resolves. Some buildings will remain singular, their stories unrecoverable. Churches and homes, beautiful structures, carefully photographed. Loved locally today as a memory or a ruin, perhaps.

Not everything needs a narrative. Some images can just be enigmatic. Evidence of care, of craftsmanship, of a moment someone thought worth preserving. These evocative details lead to fiction, which makes its own case for history and the preservation of minute detail.

But this cluster won’t let go. They connect to another stack, and soon we’ll know more. Next week we’ll meet the people themselves, looking back at us.

For the Birds

A little bird told me it was time to write…

A vibrant Buff-Bellied Hummingbird hovering near a red tubular flower, showcasing its iridescent green head and back, rusty-orange belly, and needle-like bill in a classic feeding pose.

Detailed illustration of a Ferruginous Hawk perched on a branch, displaying its characteristic rusty-brown and white plumage with distinctive feathered legs and robust build typical of North America’s largest hawk.

Depicts a Gray Jay (now called Canada Jay) perched on a snow-dusted branch with small green lichens, showing its fluffy gray and white plumage, black cap, and compact songbird form.

A pair of Pine Warblers on coniferous branches, displaying their olive-yellow plumage with white wing bars and the subtle dimorphism between the brighter male and more subdued female.

A Cattle Egret in breeding plumage with golden-buff crest and back feathers, bright orange-red bill and legs, posed in the elegant stance typical of these large birds.

A set of five Reader’s Digest Association postcards from their Book of North American Birds series. High-quality illustrations and professional production from the 1970s-1980s era of educational materials. Particularly appealing to birders and natural history enthusiasts. Good condition, unposted with no marks. See photos for actual condition. Vintage items – writing, stains, color changes, and wear are part of charm and provenance.

[Note: Summer focus is on detailed captions. Essays return in September!]

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Pandemic Post, 1918

During the 1918 pandemic, daily postcards were lifelines between farm and hospital for the Moss clan in Missouri. Their words remind us that love weaves a way between two worlds.

A postcard trembles in worried hands. On the front, St Joseph Hospital, Linwood & Prospect Streets in Kansas City, Missouri. Victorian landscaping, tree-shaded boulevards, a large, new hospital. It is a world of progress and prosperity frozen in glossy perfection.

Turn the card over. Faded ink bleeds across cream paper. “Dear Verda Marie, Mama threw up all night and does not feel well this morning… only drank a cup of tea for breakfast.”

Two worlds exist on a single postcard. The front celebrates America’s gleaming cities and grand institutions. The back reveals a family torn apart by pandemic and war, working together and staying in touch every day.

The Spanish flu arrived in Missouri like a thief. It followed railroad lines and river valleys, spreading from military camps across the heartland. By September, Kansas City reported its first cases. By October, the city’s hospitals overflowed with the gravely sick and dying.

Mama Moss checked into University Hospital on Campbell Street, one of several small places on Hospital Hill, where Kansas City built its first medical facility in 1870. Now every building overflowed with sick and strapped families seeking any treatment that promised relief or protection.

The postcards begin their daily journey between Cameron and Kansas City. Fifty miles of prairie separate farm from hospital, family from mother, routine from crisis. September 20th,Verda Marie writes from Cameron:

Dear Mama, and all. How are you feeling? And the rest. Are they going to inject the serum by your blood right away? Papa’s finger is hurting worse today. He gets it hurt a good deal working around the tractor.

The serum treatments represented medicine’s desperate gamble. Doctors extracted blood from recovered patients, believing their antibodies might save others. Transfusion methods were primitive—donor to patient through crude tubes, with minimal understanding of blood compatibility.

The front of her postcard shows Fourth Street looking west in Cameron—tree-lined and peaceful, houses with wraparound porches and manicured lawns. No hint of pandemic. No suggestion of families split between farm work and hospital vigils.

September 26, another postcard from daughter Wilda May in Cameron. Papa keeps working despite his damaged fingers. Farming cannot stop, even during plague, while war production and domestic demands for food are high. Families managed alone while the virus spread through communities like wildfire.

Dear Mama, got Verda Marie’s card yesterday. I am glad you are better. When do you think you will be able to come home? … Papa said his finger felt stiff this morning. He has this piece of ground plowed north of the house and is harrowing it now.

This card displays the Third Street business district looking East. The image suggests normalcy, prosperity, urban activity. The message tells a different story—injury, illness, fragmented family life.

October 14th, from Cameron, Wilda May is writing to check in on Mama, Verda Marie, and little Roberta.

How are you getting along? Can you sit up very much any more? Papa had a man come from K.C. last night to work on the tractor. Sold the cream. Eggs are 35 cents. Had 24 dozen and a few left over.

The dramatic red brick architecture of the M.E. Church is featured on the front. The bell tower, archways, and stained glass, no doubt concealing a community in a moment of great challenge.

November arrives with mixed signals. The Great War ends with armistice celebrations flooding city streets. Victory parades march through Kansas City while Hospital Hill counts mounting dead.

November 22nd, Wilda May is now in Kansas City and Verda Marie is back in Cameron. This is the card with St Joseph Hospital on the front and a report of Mama’s worsening condition on the back. Poignantly, a plea for simple materials.

I wish you would send us a pair of scissors, a little pair. They gave Mama so many hyperdermics (sic). They think that is why she is so sick.

The front shows St. Joseph Hospital—imposing, institutional, representing medical progress. The message reveals the grinding reality inside: nausea, sleepless nights, requests for basic supplies.

December 11, 1918. The last postcard in this series leaves Kansas City at 8:30 PM. Mabel Moss writes with exhaustion and desperate love.

Does Verda Marie still have a fever? Make her be careful. Write to your mother every day. I will write to you each day, too.

She repeats herself. Write every day. Every day, I will write to you.

These postcards have become more than communication. They serve as proof of life, wellness checks, emotional anchors in a world gone mad. Each delivery confirms another day fought forward, another family member still breathing.

The front of the card features a swank soft top automobile on Mill Creek Drive, in the Sunset Hill district of Kansas City, Missouri. Lush foliage suggests it is a wonderful day to take in the fresh air.

Armistice brought celebration but not peace. Fighting continued in distant lands. The temporary ceasefire required renewal every thirty-six days. Victory was fragile, conditional, threatened by forces beyond control.

Also, influenza had no respect for borders. While diplomats negotiated peace terms, the 1918 pandemic waged its own relentless war. Families learned that health status changes cruelly and without warning. People woke well and died by nightfall.

These postcards preserve this tension between public aspiration and private desperation, helping us journey back to history as it happened. The fronts of the postcards celebrate civic pride—hospitals, colleges, tree-lined streets, architectural monuments. Their backs tell different stories. Experimental medical treatments. Daily fears about fever and death. Constant threat of injury from dangerous farm equipment. The grinding reality of families separated by crisis, held together by handwritten words.

This contrast defines the American experience during a period of dual catastrophes. Communities built beautiful institutions while individuals struggled for survival and missed hard earned opportunities. Cities planned grand boulevards while families split between hospital rooms and farm chores. America as it aspired to be, and as it actually existed for the Moss clan.

Just as her mother was getting sick, Verda Marie received a cheery postcard from a classmate with some gossip to share.

Harriet Smith is coming over here to school this year. Thank goodness she isn’t in any of my classes … I wish you were going so I would have someone to chum with…

The postcard front featured Missouri Wesleyan College campus—red brick buildings set among autumn trees. The front speaks to knowledge, tradition, the future of young minds. We can read between the lines on the back. Verda Marie would not be in class that semester, sadly.

Like Lazarus rising from his tomb, the world emerged from pandemic death to discover life transformed. The 1920s roared with celebration and renewal, and time went on. Hospital Hill expanded into Kansas City’s premier medical district. The red brick buildings where Mama received her serum treatments evolved into modern towers serving new generations. A century later, technological and medical innovations advance but essential human needs persist, too: connection, communication, proof that loved ones survive another day.

These particular postcards survived in a family archive. Stories of courage, love, determination tucked away to find a century later. Each card represents a day won against the odds, a family bond that transcended distance and disease.

The Moss family’s story continues in everyone separated by illness, every community battling invisible enemies, every healthcare worker risking their life to save others. The beautiful facades combined with harrowing messages remind us that hope and suffering coexist, flipped back and forth in our hands, repeated in every generation.

Postcard Road Trip

Mid-century postcards captured the wonder of American road trips in vivid color. This Phoenix to Grand Canyon collection reveals the story of car trips, roadside shops, and the natural landscape of Arizona.

Rural Route Arizona

The Phoenix to Grand Canyon route via Oak Creek Canyon carved through America’s most scenic territory. In the 1940s and 1950s, this remained wild, undeveloped country. Starting in Phoenix, travelers navigated winding two-lane roads through Wickenburg, Yarnell, Prescott, Jerome, Clarkdale, Cottonwood, Flagstaff, and Williams.

Each stop pulsed with its own character. Jerome clung to mountainsides, mining copper. Prescott sprawled as a ranching center and former territorial capital. Wickenburg lured visitors with dude ranch culture. Williams crowned itself “Gateway to the Grand Canyon.” These weren’t pit stops but destinations, each welcoming tourist dollars from America’s growing car culture.

Postcard Economy

These postcards bear the stamp of Curt Teich & Co., a Chicago printing giant that drove America’s postcard industry from the 1930s through 1960s. German immigrant Curt Teich founded the company in 1898 and revolutionized postcard production. His linen postcards introduced soft textures and blazing colors.

Teich built an industrial empire through local connections. Photographers roamed America, documenting main streets and natural wonders. In Chicago, artists hand-colored black and white photographs, enhancing reality to seduce buyers and ultimately define a social aesthetic.

Behind every postcard rack stood a web of relationships, too. Hotel owners, gas station attendants, and gift shop operators ordered cards from Teich’s catalog or commissioned custom designs featuring their establishments. Postcards advertised businesses, provided affordable souvenirs, and satisfied the social duty to send word home.

Long-distance calls cost fortunes. Letter-writing devoured time. Postcards offered quick connection and proof of adventure. They were quick and easy evidence that the sender had escaped ordinary life for landscapes of impossible beauty. For travelers, buying and mailing postcards proved both pretty and practical.

The typical buyer belonged to America’s emerging middle class, newly mobile through car ownership and paid vacations. Families drove from California to see the Grand Canyon. Retirees took first cross-country trips. Young couples honeymooned across the Southwest. Many experienced the American West for the first time. Postcards helped them process and share encounters with the sublime.

Selecting, writing, and mailing postcards became part of American vacation ritual. Weather beautiful, wish you were here—heartfelt sentiments that bridge extraordinary experience and ordinary communication.

These postcards transcend tourist kitsch. They document a pivotal moment when the West was packaged and sold as leisure destination. Enhanced colors and idealized compositions reflect not just Arizona’s appearance, but how Americans wanted to see it—as endless possibility, natural wonder, and escape from urban routine.

Panoramic Phoenix

Rare panoramic postcards from the Haines Photo Company capture Phoenix on the cusp of the century.

As American cities boomed in the early 1900s, panoramic postcards emerged to document their transformation. The Haines Photo Company of Conneaut, Ohio seized this opportunity, operating from about 1908 to 1917. Photographers crisscrossed the country capturing these distinctive wide-angle views of evolving American cityscapes, like Phoenix, a fledgling desert outpost poised for dramatic growth.

Phoenix in 1900 numbered just 5,554 residents. Though small, it already served as Arizona’s territorial capital with statehood just twelve years away. These panoramic postcards reveal a city establishing the foundation for its explosive future growth.

Washington and First Streets

The first panorama captures Phoenix’s commercial core at Washington and First Streets. Electric streetcar tracks cut through the unpaved road—these trolleys had replaced horse-drawn versions in 1893, modernizing city transit. Desert mountains loom in the distance while palm trees line parts of the street, evidence of successful irrigation in this arid landscape.

A prominent building with a tower dominates the background. Pedestrians stroll the sidewalks alongside horse-drawn carriages, as automobiles remained rare luxuries. Sturdy two and three-story commercial buildings reveal a city with ambitions beyond its frontier origins.

Residences at Center and McKinley

The second view shifts to Phoenix’s growing residential district at Center and McKinley. Here, successful merchants and professionals built impressive homes along wide, unpaved streets. Both palm trees and deciduous trees (some leafless in winter) frame the elegant residences.

These neighborhoods developed as streetcar suburbs, allowing prosperous residents to escape downtown congestion while maintaining business access. Homes display fashionable Colonial Revival and Craftsman styles with generous porches and elaborate details. Unlike cramped eastern cities, Phoenix boasted detached homes on spacious lots—a pattern that would define its future growth.

Washington and Second Avenues

The third panorama returns us to the commercial district. A substantial three-story building with multiple balconies dominates the left side. Was it a hotel or major retailer? Streetcar tracks again slice through the broad dirt roadway. A park or green space appears across the street, providing rare desert shade.

Notice the shadow intruding on the lower left? It’s the silhouette of our photographer with tripod-mounted camera. Was this F.J. Bandholtz, a prominent panoramic photographer who worked with Haines?

Washington and First Avenues

The fourth panorama captures Phoenix’s financial center. A four-story brick building with numerous arched windows dominates the scene. This building houses the Phoenix National Bank with law offices above, very likely belonging to Joseph H. Kibbey, a former Territorial Supreme Court Justice (1889-1893) and Arizona Territorial Governor (1905-1909).

Founded in 1892, the Phoenix National Bank had become Arizona’s largest by 1899, with deposits totaling $692,166. Telegraph and electrical poles with multiple crossbars line the street, demonstrating developing infrastructure. The dirt streets accommodate both pedestrians and horse-drawn vehicles, though automobiles were beginning to appear.

Capitol Grounds

The fifth panorama showcases Arizona’s territorial capitol. This impressive domed structure, completed in 1900 at a cost of $130,000, sits back from the road on a donated 10-acre plot at Washington Street’s western end. Formal gardens with cypress, palms, and ornamental plantings surround the building, irrigation transforming these arid landscapes.

Governor Murphy dedicated the building on February 25, 1901. At the time, the capitol complex embodied Phoenix’s civic ambitions and push toward statehood. Now the main building is home to the Arizona Capitol Museum, connecting present-day Phoenix to its territorial roots.

Phoenix Indian School

The final panorama depicts the Phoenix Indian School campus with its multiple buildings, some with smoking chimneys, surrounded by palm trees. Established in 1891, this federal boarding school implemented the government’s brutal and coercive Native American assimilation policies. Located on 160 acres north of downtown, the campus featured brick and frame buildings for classrooms, dormitories, workshops, and administration.

The school expanded rapidly from 42 students initially to 698 by 1900, representing 23 tribes from across the Southwest. Operating until 1990, the school’s complex history reflects the often painful relationship between the federal government and Native peoples, and Phoenix’s role in executing national policies.

The Haines Photo Company

These remarkable panoramic images came from the Haines Photo Company of Conneaut, Ohio. From 1908 for about a decade, they specialized in wide-angle photography of towns and cities across the United States. The Library of Congress preserves over 400 of their photographs documenting America’s evolving landscapes and cityscapes.

Technological innovations in cameras and film made panoramic photography possible. Companies like Haines used specialized equipment to capture expansive views with exceptional clarity. They printed these as postcards for both tourists and locals proud of their developing communities. The panoramic format perfectly suited sprawling western cities like Phoenix that grew horizontally rather than vertically.

Who actually pressed the shutter remains mysterious. The Library of Congress identifies F.J. Bandholtz (Frederick J. Bandholtz, born circa 1877) as a prominent panoramic photographer working with Haines. The shadow in the third image provides our only glimpse of the person behind the camera—a tantalizingly incomplete clue to their identity.

Fast Growth in Phoenix

The early 1900s transformed Phoenix through several key developments. Roosevelt Dam (completed 1911) secured reliable water and power for the Valley. The Santa Fe, Prescott and Phoenix Railway (1895) connected the city to northern Arizona while streetcars improved local mobility. Institutions like the Carnegie Free Library (1908) and Phoenix Union High School (1895) established cultural foundations. Economic activity diversified beyond the “Five Cs” (copper, cattle, climate, cotton, and citrus) to include banking, retail, and professional services.

Statehood on February 14, 1912 elevated Phoenix’s status as capital. These postcards hint at those century-old aspirations—a frontier town rapidly becoming a modern American city. Phoenix’s population doubled from 5,554 in 1900 to 11,134 by 1910, and surged to 29,053 by 1920, launching a growth trajectory that would eventually make it one of America’s largest cities.