Tag: postal history

Between Cases

Nurse Aird moved from case to case, and was never one place very long. Her friends always managed to catch up.

Over several weeks, we have been learning about Elizabeth Rowen Aird, who worked as a private nurse in the Teeside region of England in the early part of the 20th century. Her distinctive handwriting boldly appeared among a collection of vintage English postcards from 1902 to 1916. Two cards charted a course back to Redcar and an earlier essay about an unusual seaside stroll. Another single card happened to be in the right place and time in regal roadworks.

This week, we examine the postcards Liz received from fellow nurses, faithful friends, and grateful patients. This view expands the territory, too. Her friends write from Glasgow and Isle of Wight, and from more familiar stations. The cards also follow her from case to case, often forwarded to a new address where she was working.

Nurse Aird was not attached to one hospital ward. She took private cases one at a time, perhaps through a nursing registry or through established relationships with convalescence homes. She picked up patient cases on a weekly or monthly basis, often staying in the family’s home and moving on when each case ended.

William Smart’s mother still in great pain, no hope of decreasing it. Am with very pleasant people. I am keeping very well but get well tired. Went to Unity on Sunday evening – hope you both keep well. Expect to be here till away case – it only came off a week ago. Bob Payhrs is not so well. Will get direct train when it comes out. Liz

Fellow nurses kept in touch, perhaps to ease the loneliness of a stay away in a family home that may have seemed unfamiliar.

So glad to receive your letter – will answer it later. Came here on Saturday; an old lady again. This is a very old town, but we are quite in the country & it is so lovely. Am quite well & hope you are Yours, B.E.W.

Or, simply to gossip!

Thanks for pretty P.P.C. Can’t think of how P. delaying so long. Probably could not forgive herself for the ‘ride’ not coming off, sort of penance. I am wondering if you have got any fresh storyettes about ‘nurses’ now don’t keep them all to yourself you know I enjoy them immensely. Weather lovely, no work of course. how can a mere student? Ta Ta you N.S.

We don’t know if Nurse Aird had formal training or even if she chose the nursing profession. Nurses in her era had to remain unmarried to be employable, and unmarried women often became nurses. Liz must have offered a kind word to a young woman thinking about her options.

Dear Nurse, Thank you very much for P.P.C I have not been through Darlington twice. Yes, I am still thinking of going in for nursing. I shall soon be old enough. They will take them at 22 at Aston. So I shall not have long to wait. I will write you a letter in a day or two and tell you all the news. Hope you are keeping well. When are you coming over to see us. Yes I think we are all pretty well. Harry is getting married soon. I will tell you when in my letter when I write. We are having a concert next Saturday. Shall be glad when it is over. Hoping to hear from you again, I remain your loving friend. S.

Nursing would not become a registered profession in Britain until the Nurses Registration Act of 1919. Liz worked steadily for at least two decades before that law existed. Though she moved within a firm social architecture, there were few legal protections, and no patient meant no pay.

Will stay here next week & then if nothing turns up will come over during race week. Nurses are all on holiday, as there is nothing doing. Glad the belt is alright. This weather is very relaxing – the country is lovely just now – went for a drive with Miss Lucas yesterday. Liz.

Rest and relaxation came through friendships, church, and a seaside social calendar. Alice A. Lucas belonged to Liz’s own circle in Darlington, built around the Unity Society there. Her December 1906 card included good news of her mother’s health, and also her evening plans.

It was kind of you to send such a pretty P.C. to Mother. She is not quite ready yet to need you to nurse her, but has only just escaped that fate!! We have had her in her room since Friday, by Sunny Jim’s orders (a slight internal bother) We hope to have her down tomorrow. How are you, dear? We shall be glad to see you back. I am going down to the singing practice now. Mr Side is doing very well. We are arranging for a “Unity Church Society” for study of social & other questions. Goodbye – with our united love, affectly yrs, Alice A. Lucas.

This congregation met in Darlington from 1873 to 1922, part of the Unitarian church in England. It was a big part of Liz’s social world during her time there, from 1906 to 1915. Over the years, she attended concerts and lectures, walked in the park, and traveled to see friends connected through church.

6 South Ter Harrogate, Thanks for card. We wondered how you had got on. Rev S.S. Brettell comes 14 Sun Oct – fear you may not get here – we do not record.

Her mother attended a separate Unity congregation back home in South Shields. Through their correspondence, we see the bond between mother and daughter, and also the goings-on of a socially progressive faith community. A 1912 card confirms a standing weekly commitment in South Shields.

Dear Mrs Aird The U.S. meeting will be at the above adress tomorrow night. The N.E. Cafe is let for the whole of the winter for Thurs. if it suits the members I hope you will be able to be there.

Mother and daughter each had their own circles, engagements, and schedules, which sometimes overlapped.

Going up to Tyne Dock to see Harmonium to-night. Come down as soon as you can to-night. I may go to park. Liz

Despite the typical brevity and levity of postcards, they do sometimes deliver devasting news. Liz’s cases were not always easy.

Hope you are keeping better! Last Sunday I had blue baby at church in the afternoon. She had a convulsion at 11 at night & died Monday morning. It was very unexpected. The patient is alright but her mother is ill and not expected to recover – I miss the baby more than anyone she was such a sweet little thing. How cold here the weather is, a great change, you must be careful not to get cold. Much love to both, Liz.

The postcard she sent from Sedgefield Asylum comes with an ominous chill. Also known as Durham County Lunatic Asylum, it was built in 1858 and expanded in the 1880s until it held 700 patients under one roof, with its own chapel, stables, and water supply. That same building was absorbed into the newly formed National Health Service in 1948, renamed Winterton Hospital in 1949, and continued treating patients into the mid-1990s.

Bark House, Sedgefield. Hope you are all well. Have been very busy – patient still in bed. Have you read the failure of Mr Stopkus. I was with them a year ago – regular fraud – I expect to go thro the asylum next week. Hope they wont keep me in. Send me a few lines this week, not sure if I can get next week. Much love to both. Liz

Other patients wrote to Liz with the encouraging and frustrating details of getting better. Given the number of these messages, we have to assume she stayed in touch with some patients and families long after the case was over and she had moved on.

“Have been here five weeks. Am feeling much better & stronger & staying a little longer. Kindest regards. E Beaumont”

Maud, recovering in Nottinghamshire in August 1907, wrote with wry humor.

“Thanks for card – Am improving everyday – Can walk splendidly! Plenty of fresh air of course – unfortunately can’t get away from nurses – there is one visiting here just now – Are you not sorry for me? Yours”

A few messages indicate that Liz was generous, too. Gifts and parcels were exchanged regularly, including some little bonnets that seem to have been for sale. Messages nearly always offered a health update and wishes for her own wellbeing, and her parents.

My dear Nurse, Thank you very much for your nice parcel. The little bonnets are lovely. They will sell I am sure. Hope you are feeling better. Father has been ill but is better. Love from all. E.S.

Dear Miss Aird, I received your letter thanking you very very much for the present it was quite a surprise. I am enjoying myself very much and having beautiful weather. Hope you are keeping better and also your mother. Gertie.

Dear Miss Aird, Thank you very much for the biscuits. we are sorry your father & you are so ill. Mother on the improve but not able to go about yet. She will write to you as soon as she can. With love from all, Rachael

A few cards taken together trace a long friendship. Rennie, writing from Whitley Bay in July 1910:

15 Park Parade, Whitley Bay. We arrived here yesterday. Hope you will be over to see us. We are here for 10 days with Yeoman Eli. Love from Rennie.

A missed meeting the same month:

Very sorry I can-not meet you tomorrow, hope you will have a nice day at Whitby. Love from Rennie

An invitation the following September:

Cherryburn Gardens Fenham, Thanks for your invitation, shall be pleased to come on Monday leaving here 2.0 but must return 5.30. Hope your Mother is keeping better. With love from Rennie.

And a week at Langholm in 1913, with her own mother:

Mother & I have been here a week. Leaving Monday. We are enjoying the rest, a change. The weather is good, rain this afternoon for the first time. How is your father keeping? I hope better. Love from us both, from, Rennie

These cards we first approached as places—Alnwick, Nottingham, Newcastle-on-Tyne—were not scenery chosen at random. They were where Liz and her circle actually spent the free time that their arduous work allowed them. The seaside villas, the castles, and parks were the landscapes for their lives.

Read together, these cards describe a social system built almost entirely on goodwill and improvisation. The National Health Service, founded in 1948, was built to respond exactly these gaps: free care for all, a regulated nursing profession, hospitals and asylums brought under one public system. Liz’s world and her own work preceded what we think of as healthcare now. What came after was far from perfect, and it is worth appreciating what it replaced.

First Day on Kingsway

One day, a long time ago, we saw the King & Queen on a famous road. It was certainly something to write home about.

Cataloging a postcard album doesn’t happen in one pass. I might yearn for an efficient process that handles each card only minimally, but in the beginning even the most obvious information is so dense it can only be processed in stages. When it comes to the narratives on the reverse, the details are even more subtle. Look closely. Look again. Slowly build a theory, and an alternate. Be prepared when evidence says otherwise.

I have made three passes so far on the English album I mentioned last week. First, we sorted them alphabetically by place, then grouped by handwriting, then ordered by date. Each pass asks a different question: Where are we? Who is writing? What happens? And, for this set especially, when is the train?

This card collection was first assembled by Elizabeth Rowan Aird. Called Lizzie by her family and close friends and known professionally as Nurse Aird, she signed most of her own messages simply, Liz. Her postcards span nearly a decade, from 1903 into 1912. They have the rare benefit of including both sides of the correspondence.

Liz and her colleagues wrote to one another from nursing posts in the region. Liz organized her work scheduled by postcard and wrote home to her parents regularly. Luckily, she kept all of those cards many years on. They trace her friendships, her patients, and her long devotion to family back home in South Shields. The essays ahead will follow her travels closely: the places she stayed, the people she nursed, her life between shifts.

Some of her stops include Darlington, Middlesbrough, and West Hartlepool, which sit inside the Teesside region, built around the River Tees. Iron drove the area’s growth during the nineteenth century. Bridge building, railway manufacture, shipbuilding, and engineering all grew mightily from the local pride that ran deep in each trade in that era.

The roots of rail travel began in Darlington in 1825, when Edward Pease founded the Stockton and Darlington Railway. By the time Nurse Aird traveled regularly for work, the North Eastern Railway had knit these towns into a dense network. A nurse could move from patient to patient along the same rail lines built to move coal and iron.

These same railways also carried visitors to the coast. Holidays became easy fare for middle-class families as the railway network opened the seaside to them. The Stockton and Darlington Railway reached Saltburn from Redcar in 1861, and day trippers and holiday travelers followed almost immediately. Cheap excursion trains ran regularly. Whitley Bay, further north on the Tyneside coast, developed the same way.

Nurse Aird’s family and friends enjoyed the view from these places, too. The postcards tell of short trips to the coast, days off between assignments, a postcard sent home to signal a railway return. There is so much territory to explore in Nurse Aird’s travels more than a century ago. We’ll get there.

For now, we start on one very special day for the country as a whole. Nurse Aird’s younger brother John Aird and his companion were visiting London on holiday when they witnessed King Edward VII and Queen Alexandra open “The New Road.”

Seen King & Queen opening The New Road today. This is the 3rd time we have saw them since our arrival.

The London County Council first published its plans for Kingsway in 1898, though talk of a new route between Holborn and the Strand had circulated for years before that. The project became the largest road-building scheme in London since Regent Street in 1820. Building it through one of the most crowded corners of Victorian London meant that 3,500 residents lost their homes. One-hundred feet wide, it was one of the broadest streets in central London with a rail tunnel running under it. The road took the name Kingsway, honoring the reigning monarch.

The formal opening came on 18 October 1905, six years almost to the month after the LCC first laid out its plans. A royal procession led by King Edward VII and Queen Alexandra moved through the street. A souvenir program printed on a decorative napkin laid out the day’s schedule and doubled as a keepsake. Alongside the pageantry, a petition from the Poplar Borough Council on behalf of the area’s unemployed.

John Aird and his companion stood somewhere in the crowd watching the procession go by. We know they were on holiday, having just visited Westminster and Big Ben. It was the third time they had seen the King and Queen on their short trip. Could that be true?

The Court Circular could settle the question. This daily official log of the sovereign’s engagements has run in The Times since 1803. If the King and Queen appeared twice more that week, the Circular would name the place and hour. Bound volumes covering this period sit in the Royal Collection Trust’s archive. The daily printed record itself lives in the Times Digital Archive.

It’s easy enough to believe John’s claim, though. The King kept a famously full public calendar. A visitor spending real time in London that October had a genuine chance of crossing paths with the royal couple more than once.

There’s another small clue in the postmark that reads: LONDON NW OCT 18 05 No. 19. Before modern postal codes, there were local office units. So John mailed this notable card home on a date and from a location that fits his story.

We will get one or two more glimpses of John Aird in this collection. Expect two or three more passes through the postcards at least, too, as we ride the rails in this river region. All thanks to Nurse Aird, who so often sent word ahead.

To Read More

RMS Berengaria

The story of a mail-carrying ship named after a queen who never arrived.

RARE CARD

Art Deco promotional postcard, printed in U.S.A., circa 1923

Front: A bold Art Deco illustration in four colors: burnt amber, deep navy, black, and red-orange. The ship Berengaria fills the frame. The black hull dominates the lower half. Three banded funnels plume smoky blue-purple into the amber sky. The ship’s name is lettered in copper on the hull. The Cunard lion sits in a red medallion at upper left. At lower left, a stylized New York skyline recedes into amber, a bridge suggested behind it. The waves are geometric. The image mirrors a popular poster style, compressed into an elongated postcard.

Reverse: The left panel carries a printed ship description: 919 feet, 52,022 gross tons, Pompeian swimming pool, gymnasium, Turkish and electric baths, special ballroom. Divided format, publisher code A. & P. 47850, printed in the U.S.A. The address side is blank. The card was never sent.

“The R.M.S. Berengaria, the largest ship in the Cunard fleet and one of the three largest ships in the world, has a length of 919 feet, and a tonnage of 52,022 gross tons. Her passenger accommodation includes a Pompeian swimming pool, gymnasium, Turkish and electric baths, and a special ballroom.”

Production: Cunard distributed promotional postcards like this one aboard ship and at its offices. This example uses offset lithography with a guilloche-style mechanical tint screen giving it the graphic quality of a travel poster. The colors are rich and regal. The card shows its age: deep crease lines, foxing, staining, with a bent lower left corner.

Collectibility: Ship postcards from the great transatlantic liners are a well-established collecting category. The Berengaria appears frequently. This example stands out for its Art Deco illustrative style over the more common photographic format. The design quality is high, but condition limits its value.

Back of RMS Berengaria Cunard Line promotional postcard, circa 1921–1938. Divided back format, printed in U.S.A., publisher A. & P. 47850. Left panel carries printed ship description: 919 feet, 52,022 gross tons, Pompeian swimming pool, gymnasium, Turkish and electric baths, special ballroom. Address side blank. Unposted.
RMS Berengaria, Cunard Line postcard — reverse. Publisher A. & P. no. 47850, printed in U.S.A.

Samuel Cunard began his shipping empire on a government mail contract in 1839. As a Royal Mail Ship, the RMS prefix was baked into Cunard’s identity from the start. It meant a contractual obligation to carry post, and to sail on schedule whether the ship was full or nearly empty. Cunard told his captains: “Ship, passengers and mail — bring them safely over, and safely back.”

The ship’s name came from a medieval English queen. Berengaria of Navarre married Richard the Lionheart in Cyprus during a Crusade, was widowed without an heir, and spent her remaining decades in Le Mans petitioning by letter for the pension King John refused to pay. She appealed to popes and argued with bishops. Her entire widowhood was conducted through correspondence, written from afar, addressed to courts that largely ignored her. She is most remembered as the English queen who never set foot in England.

The ship started out as the SS Imperator, built in Hamburg for the Hamburg America Line and launched in 1912 as the largest passenger ship in the world. The war intervened and the ship was seized as a reparation and sailed briefly as a U.S. Navy transport. In 1921, it was renamed Berengaria and handed to Cunard. Much like its namesake, the ship never returned to its homeland.

The Berengaria served as Cunard’s flagship through the 1920s, then declined into Prohibition-dodging cruises that passengers nicknamed Bargainaria. Aging wiring sparked electrical fires. Cunard retired the vessel in 1938.

Sir John Jarvis, a Surrey MP, bought Berengaria for scrap and sent her to the River Tyne in a deliberate act of charity. Jarrow had lost its main shipyard, Palmer’s, in 1934. Unemployment topped 70 percent. Two years before the Berengaria arrived, 200 of Jarrow’s men had marched 300 miles to London to petition Parliament for work. Parliament offered nothing. Jarvis purchased the Berengaria and the Olympic to give the town’s idle shipyard workers something to dismantle. Men who had built destroyers and passenger liners cut the ship apart with blowtorches. The work was interrupted by the Second World War, but the last of the ship was gone in 1946.

To Read More

The Past, in Particular

Over the past few weeks, a rare photo postcard album has revealed places, property, and people, along with our own ideas about what we see. We’ve gone from unmarked wilderness, to building structures and social life, to faces and a few names.

We look back at them, and they return the gaze. Their stories blend with our own memories and imagination. They begin to feel like someone’s ancestors, though the particulars remain elusive.

Rochester in Rearview

In 1877, photography required glass plates, wet chemicals, heavy equipment, and specialized knowledge. George Eastman, a frustrated bank clerk from a poor family in Rochester, taught himself the process in his mother’s kitchen.

A decade later, Eastman had invented a simple camera pre-loaded with film for 100 exposures. By 1903, the Eastman Kodak Company released the 3A Folding Pocket Camera with 3¼ × 5½ inch film—exactly postcard size and pre-printed on the reverse. Local photographers and home enthusiasts could contact-print the negative directly onto postcard paper. No enlarger needed, and simplified processing equipment and chemicals.

Rochester became an ecosystem. Bausch & Lomb made the lenses. Kodak manufactured the cameras, bought the film company, and controlled the processing. Customers shipped the entire camera unit back to the factory, and received prints and a pre-loaded camera in return. “You press the button, we do the rest.” Factory workers were the first to witness an era of American life, as images of farms, houses, banks, theatre, and towns and their inhabitants poured in.

A quiet man, Eastman watched this unfold from the center, as his invention changed history and rippled through culture. By 1920, millions of Americans owned cameras. Eastman left a simple note when he ended his own life at 77 and in degenerative pain, “To my friends: My work is done. Why wait? GE”.

What We See

The studio portraits above show painted backdrops—ornamental arches, garden trellises. The lighting is controlled. Poses held steady. Technical quality consistent. These were made by professionals charging by the sitting.

The outdoor snapshots show real places—porches, orchards, dirt roads. Natural lighting, sometimes harsh. Composition varies from confident to awkward. These came from camera owners of varying skill. The irregularities in frame and exposure suggest they were developed at home, too.


What We Don’t See

Despite the pre-printed paper and earnest intent, real photo postcards were rarely sent as such. A few have difficult script, cryptic addresses, faded cancellations, and worn stamps.

“Hello Fanni. Miss Fanni Moore, Panhuska, Okla.”

The remaining relics haven’t been labeled, addressed, or mailed. Most backs are blank, and they were often collected in photo albums. The manufacturing marks may have been quite incidental.

What’s missing from nearly all: names. Very few clues to subjects, locations, dates. The people who made these photographs knew who everyone was. They didn’t need labels. Or, perhaps they were accompanied by letters and mailed in envelopes for privacy and protection.

A century later, the faces remain potent but anonymous. We guess at relationships from physical similarity, from who stands near whom. Sometimes we’re right. Sometimes, we can’t believe our eyes.

Spaces in Between

The 3A Folding Pocket Kodak cost $20-30, equivalent to $600-900 today. An expensive hobby, but accessible to prosperous farmers, small business owners, middle-class families. Film cost about 50 cents per roll.

The investment meant something, whether it was the equipment or the studio session. People photographed what mattered—children, homes, gatherings. The images document their priorities, and their time passing.

Real People, Real Limits

These are real people who lived, worked, loved, died. Someone cared enough to preserve their images. They matter still, in part, because they mattered to someone before.

But our analysis stops here. We can describe what we see—the composition, the technical choices, the historical context. We can note patterns across the collection. We can explain how the technology worked and who had access.

The work of naming and placing, in particular, belongs to families searching their own histories, connecting faces to stories passed down, matching photographs to genealogical records. Those searches have their own purposes, their own meanings.

We are collectors examining patterns, not descendants reclaiming ancestors. Though, it is tempting.


Please Post, ASAP!

Did you know? October 1 is World Postcard Day! The celebration started in 2019, based on the grand old global pastime of simply staying in touch.

World Postcard Day was designated by Postcrossing as the first of October starting in 2019, including a new postcard design each year. We share a simple mission to keep postcards circulating, and their way of doing it is elegant and efficient. A wonderful illustrated history of the postcard is available to enjoy, as well. To celebrate the day, I’ll be requesting my first address and then happily duty-bound to get a postcard in the mail quickly. Maybe you will, too!

Featured Postcard~ MatToon Memories

Another mention of Mattoon, Illinois. This time, it is 1912, with a typical friendly update, winter weather commiserations, and gifts exchanged.

Dear Carrie, How is this for winter? I’m good and tired of it. Tell the folks I got a basket last Wed that tickled me mightily. Tell Stella, I will redeem my promise this week if this weather continues. I’ll look them up this P.M. & send at once. I’ve been too busy to do anything extra. Hope U are better. I weigh 154 and you will have to hurry or I’ll be way ahead of U. Mayme, March 11.

Front of the card: A delicate bouquet bursts from a pink gathered vase. Pink hyacinths and white lily of the valley dominate the arrangement. The flowers cascade naturally, their stems tied with fabric and matching bow. The text “A Note to you” appears in a blue decorative font at bottom right. Embossed rosettes frame the card in an ornate lace-like border.

Back details: Handwritten script fills the left side. A one-cent green Benjamin Franklin stamp sits in the upper right corner. The postmark reads “Mattoon, IL” with partial date visible, March 11, 1912, and a flag cancellation. The address shows “Mrs. Carrie Fulmer, St. Mary’s, Ind.”

Condition: The card shows minimal wear—crisp embossing, slight foxing, faded cancellation marks, minor corner softening. Colors remain vibrant. No tears or creases mar either side, though there is a minor cancellation mark on the front upper right. Very good condition for its age.

Rarity: This embossed, die-cut postcard represents German lithography’s golden age. Publishers used chromolithography to achieve the rich colors. The deep embossing required specialized presses. Early 1900s embossed postcards survive in quantity, but this example’s condition elevates its value. The Mattoon, IL postmark and readable message add historical context. Not museum-rare, but better than average.

Appeal: Collectors of Victorian and Edwardian ephemera may treasure this piece. Design enthusiasts might enjoy the embossed example. Genealogists ought to enjoy our meanderings through Mattoon and Mayme and Carrie’s perspectives. Botanical art lovers appreciate the detailed floral illustration and coded meanings. Stamp collectors note the Franklin one-cent issue and period-specific cancellations. Vintage greeting card dealers would display this prominently.

Would anyone cut it up to make an art card? Oh, the creative tension between past and future!

art card gallery

The gallery features Landscapes by Larry L’Ecuyer, and the World’s Smallest Artist Retreat (our P.O. Box) is awaiting your art card submission. Details here!

IN STORE! nEW POSTCARD DESIGN!

If you are nearby, come visit our very first postcard display at Tempe Yarn & Fiber. Grateful for the chance to get them out in the world. New designs and online sales coming soon!

A Streetcar Back in Time

Room enough for all of us to go from here to there, and back again.

Featured Postcard~
New Orleans French Market A CENTURY AGO

An early 20th century scenic postcard showcases the iconic French Market in New Orleans’ French Quarter.

Front of the card: The photograph shows the vestibule of the historic French Market, featuring tall, weathered French/Creole Colonial columns supporting a slatted roof. Perspective draws the eye down the long corridor, emphasizing the market’s impressive scale. The covered walkway displays produce, baskets, and merchandise on tables and in crates. The image captures a rare moment when the hallway of vendors face the camera. Hand-colored rose tones reflect the market’s timeless atmosphere with pops of green and blue artfully applied. Caption: Vestibule, French Market, New Orleans, La.

Back details: The left panel explains the market’s history:

This card shows the interesting old columns erected, 1822. While the roof of the market has been repaired many times, the old columns have stood as originally put, without fire aid to the injured.

Published by Lipsher Specialty Co., 320 Magazine St., New Orleans. Standard divided back format with decorative script and postage rates listed: Domestic One Cent, Foreign Two Cents.

Historical significance: The postcard documents the French Market’s appearance in the early 20th century. Established in the 1790s, the market served as a vital commercial hub where vendors sold fresh produce and handcrafted goods. Instructions to “Take French Market car from Canal St.” reflects the streetcar system and emphasis on tourism. This postcard dates to 1922-1925, based on combined evidence of one-cent postage, the specific streetcar reference, and hybrid halftone-collotype printing (Aquatone process was patented in 1922).

Condition and Appeal: The card displays excellent color saturation, with clear and interesting details and minimal defects. Tiny nicks on two corners, with yellowing on the reverse typical of age. Image and text provide valuable historical context, appealing to collectors of New Orleans memorabilia, architectural history enthusiasts, and those interested in early 20th century American commerce. The French Market remains active today, making this postcard a fascinating glimpse into its enduring legacy as a cornerstone of New Orleans culture.

Today’s Art Card & Gallery

The gallery features Landscapes by Larry L’Ecuyer, and here is a fun art card from Anne this week. Winner, winner, chicken dinner!


open call for art cards!

The World’s Smallest Artist Retreat (our P.O. Box) is awaiting your art card submission. Details here!

Art card kits ~ gift or fun for you!

Our Art Card Kits are perfectly-packaged as a fun, creative activity for you and a friend to complete in as little as an hour or made into a lovely afternoon.

Something from Nothing

In her latest essay, Anne explains what we’re doing here 🙂

Still in the Ring

Here we go! The Posted Past heads into the fall season with rare cards, a new gallery, and a social mission to trade loneliness for connection.

featured postcard~
rare novelty card still holds a mystery

An early 20th century novelty postcard featuring humorous photography and personal correspondence from Missouri.

Front of the card: The photograph shows a young Black man in white shirt, suspenders, and dark trousers, grinning while holding a large broken umbrella overhead in a playful pose. Below reads the humorous caption “A little disfigured, but still in the ring”—typical novelty humor from the postcard craze era. A black border frames the photograph on cream cardstock.

Back details: The reverse bears “Carbon Photo Series No. 513” identifying the commercial publisher’s series. Addressed to Miss Grace Skillman in Pleasant Hill, Missouri, with a green 1-cent Franklin stamp and clear 1908 postmark. The handwritten message describes an exhausting early morning wait in Lee’s Summit for “Brother and Frank,” and promising a longer letter that evening.

“Still in L.S. haven’t slept but about ten minutes. My eyes looks like two burnt holes in a blanket. Brother and Frank hasn’t come yet. I will wait till 7.30 and then go home. Will write tonight. Just finished my breakfast. I will eat if not sleep. I got here ten till five.

Condition and Appeal: The sepia-toned image displays characteristic early photography with some age spots, and a nicked corner. The image and reverse side remain in good condition with clear photography and legible handwriting. The “Carbon Photo Series” indicates premium production using carbon-based printing methods prized for superior image quality and archival stability. Grace Andre Skillman was born in Pleasant Hill in 1889, making her nineteen when she received this card. The message and the lack of formal salutation and signature suggest this is casual ongoing family correspondence. As a result, the author of the postcard remains a mystery.

Vintage novelty postcards are increasingly collectible, especially numbered commercial series with documented recipients. Collectors of African-Americana may find the image appealing and relatively rare. The combination of carbon printing technology, humorous subject matter, and personal correspondence is of interest to collectors of vintage photography, postcard enthusiasts, genealogy researchers, and those focused on early 20th century American social history and communication.

Introducing~
The Posted Past Art Card Gallery

A selection of Larry L’Ecuyer’s watercolor landscapes are on display in our Online Art Card Gallery. Fitting as our first show. Enjoy!

Watercolor postcard showing a serene lake scene with mountains in the background and tall grasses in the foreground
Countdown to a Lakeside Getaway, 2025, Larry L’Ecuyer, watercolor on postcard

NEWS & UPDATES~
art card call for submissions is open

The World’s Smallest Artist Retreat (our P.O. Box) is awaiting your art card submission. Follow one rule to join the next open show. Details here!

Art card kits now in stock

Our Art Card Kits are perfectly-packaged as a fun, creative activity for you and a friend to complete in as little as an hour or made into a lovely afternoon.

The kit includes two postcard blanks, six vintage finds curated to the chosen theme, and a bundle of collage goodies for your whimsy. There is a free gift inside, too!

Once you’re done, surprise someone with an original art card in their mailbox. Or, send it back to us to include in the next online show. Either way, you’ll have cultivated a little joy in your garden.

Order your kit here 🙂

Wise Eyes

Old Rufus Dale had seen a thing or two, and Irene had her suspicions.

An early 20th century real photo postcard (RPPC) showing a poignant intergenerational portrait.

Front of the card: The photograph captures an elderly man with a distinctive long white beard, dressed in a dark suit, seated on a dilapidated wooden loveseat or couch in front of a clapboard house. Beside him sits a young child in a white dress, perched on the arm of the furniture. Behind them a decorative lace curtain hangs outside the open window. The setting appears to be rural America.

Back details: The reverse shows the handwritten inscription in pencil, Uncle Rufus Dale, age 84 and Irene age 4. We can assume a family relationship, likely between grand-uncle and grand-niece.

Condition and Appeal: The real photo postcard is in excellent condition front and back, unposted with helpful writing, and an AZO indicia dating the item between 1904 and 1918. The subject matter and production method suggest this is a unique image and object, with no known duplicate.

RPPCs are quite collectible, especially those with interesting and clear photographic subjects. The rural American family setting, the age gap between subjects, and the excellent condition make this item more desirable, appealing to collectors of early photography, genealogy researchers, postcard collectors, and those interested in American family and social history from the early 1900s.

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

1972 Tourism Year of the Americas

These vintage postcards from the 1972 Tourism Year of the Americas reveal fascinating questions about natural landscapes, heritage, monuments, and whose stories we remember and tell.

In summer 1972, the United States Postal Service issued commemorative postcards that would become enduring symbols of national identity. These postcards, part of the Tourism Year of the Americas campaign, featured iconic destinations with restrained elegance—their two-color printing was both artistic and economical. As America stood at a cultural crossroads, this postcard set tells a familiar American story. More than five decades later, they reveal even more about how a nation sees itself.

Commemorative Moments

First Day of Issue cancellations mark a special moment in time, and signal that an item is expected to be collectible. The postcards were cancelled on June 29, 1972, bearing the commemorative text “Philatelic Exhibition Brussels” and “Tour America Inaugural Rome – Paris.” These international exhibitions promoted American tourism during the Cold War, when cultural diplomacy served as essential soft power.

The carefully designed cancellation artwork includes USS Constellation (6¢), Gloucester (6¢), Monument Valley (6¢), and Niagara Falls (airmail 15¢). These rates reflected the newly reorganized United States Postal Service which had become its own entity the year prior. The 1972 Tourism Year of the Americas was an ambitious initiative from the new quasi-independent agency, emerging alongside Nixon’s opening to China and détente with the Soviet Union.

USS Constellation, the last sail-only warship built by the U.S. Navy (1853-1855), served as flagship of the Africa Squadron from 1859–1861. The ship captured three slave vessels, enabling liberation of 705 Africans. During the Civil War, Constellation deterred Confederate cruisers in the Mediterranean. The selection represented naval heritage and anti-slavery efforts, though it still centered the naval victory rather than those who gained freedom.

Niagara Falls has attracted visitors for 200 years, becoming the symbolic heart of American tourism. The 1883 Niagara Reservation became America’s first state park, influencing national park creation. Current visitor statistics show enduring appeal: 9.5 million tourists visited Niagara Falls State Park in 2023, with the region welcoming 12 million visitors yearly.

Monument Valley reflect the West’s central role in national identity by 1972, immortalized through Hollywood and environmentalism. Yet Monument Valley sits within Navajo Nation territory, while Grand Canyon encompasses land sacred to multiple tribes, including the Havasupai, whose reservation lies within park boundaries—reminders that park creation displaced Native communities.

Gloucester, America’s oldest seaport, sustained coastal communities for centuries. The lighthouse image evoked both practical maritime safety and romantic notions of New England’s rocky shores, while Gloucester’s working harbor embodied the intersection of heritage preservation and living tradition. By 1972, this historic fishing port faced the tension between maintaining its authentic maritime culture and adapting to tourism pressures—a challenge that made it a fitting symbol.

Artistic Vision

The front of the postcards render multiple iconic American locations in distinctive engravings in an economical two-color print run, an important factor for a the government printing office.

The collection showcases a deliberate balance. Yosemite represents natural power and America’s first national park. Missisippi Riverboats and the Rodeo embody western majesty central to national imagination. DC Monuments offer overt patriotism and Williamsburg and the Liberty Bell connect to the tremors and tolls of colonial democracy.

Even in 1972, these were selective narratives. All featured natural sites exist on traditional Indigenous lands, for example, while largely omitting Indigenous perspectives and enslaved people’s contributions to our cultural histories.

Many featured locations are sacred sites to Indigenous communities. Some of the most sacred places for American Indian nations are located in national parks, yet access to holy ground remains contentious. Park creation often involved displacing Native peoples from lands they had stewarded for millennia.

The year 1972 was tough in other ways: Vietnam War divisions, emerging Watergate scandal, and generational alienation over the military draft. These postcards presented a different kind of unity. Rather than contemporary political divisions, they emphasized natural wonders and historical sites that transcended partisan conflicts.

During the Cold War, these postcards served as miniature global ambassadors, too, often providing people’s first visual encounter with American landmarks. They projected America as worthy of visiting and learning about, countering negative impressions from political controversies.

The postcards themselves embody crucial democratic principles: making heritage accessible through affordable media; connecting tourism to conservation through revenue and public appreciation; and revealing how commemorative choices reflect national values. The geographic diversity suggests a desire for the fullest of American experiences, though these 1972 selections still privilege certain narratives.

New Memories

These postcards continue to offer insights into American values and heritage preservation evolution. USS Constellation still serves as a museum ship in Baltimore’s Inner Harbor. National parks have experienced tremendous visitation growth, raising questions about balancing access with preservation.

In what they don’t depict, the postcards show gaps in whose stories get told, whose lands get celebrated, whose experiences get centered. While 1972 selections emphasized traditional narratives, contemporary views increasingly include previously marginalized perspectives, acknowledging Indigenous heritage alongside colonial and national stories.

These artifacts remind us that commemorations reveal values and priorities. As our historical understandings evolve, it’s wise to look back and look again.

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Island Time Travel

Native Hawaiian wisdom, mainland capitalism, an LDS mission, and the birth of Pacific tourism. At the center, a banyan tree that has watched Hawaii transform for 120 years. This 1921 real photo postcard reveals the complexities of cultural exchange, migration, and travel over time.

In the photograph we are looking at today, the Moana Hotel rises like a palace from Waikiki Beach, its elegant wings stretching toward Diamond Head. A wooden pier extends into the Pacific. The building’s Victorian details hint at mainland American grandeur transplanted to the tropics. The “First Lady of Waikiki” opened as the territory’s first luxury resort, transforming a landscape once dotted with taro ponds and royal summer homes into the birthplace of Pacific tourism.

Built by wealthy landowner Walter Chamberlain Peacock and designed by architect Oliver G. Traphagen, the Moana opened on March 11, 1901, with 75 rooms featuring Hawaii’s first electric elevator and the unique amenity of private bathrooms. The first guests were a group of Shriners, who paid $1.50 per night—about $50 today—to experience what was then a very remote luxury destination.

Three years later, Jared Smith, Director of the Department of Agriculture Experiment Station, planted what seemed like a simple landscaping choice in the hotel’s courtyard: a young Indian banyan tree, nearly seven feet tall and about seven years old when planted. In the image, the tree is seventeen years old and already creating the shaded sanctuary that is the hotel’s heart even today.

As we flip the postcard over, another dimension is revealed. On November 29, 1921, a simple message sent to Mabel Moss in Longanoxie, Kansas with the usual greetings. But this isn’t a holiday for Aunt Olive. Her return address, “Route 4 – Box 46,” tells its own story of how communities were connecting between ancient and modern, sacred and commercial.

A Mormon Pioneer’s Island Home

Aunt Olive likely lived in Laie, thirty-five miles north of the Moana Hotel, where the Mormon Church had established its Pacific sanctuary. Her Route 4 address would have been served by one of the Rural Free Delivery routes radiating out from Honolulu—a detail that places her among the settlers who were building new communities beyond the city’s tourist corridor.

The Mormon settlement at Laie represented a unique form of cultural encounter. Beginning in 1865, when Church president Brigham Young received permission from King Kamehameha V to establish an agricultural colony, the Latter-Day Saints purchased 6,000 acres of traditional land—a pie-shaped division that provided for sustainable living. The Mormon community tried to honor Hawaiian land practices, giving each family a loi (water garden) to cultivate kalo (taro), the traditional sustenance crop.

The Hawaii Temple, dedicated in 1919, was the first Mormon temple outside continental North America. Built with crushed local lava and coral, its structure embodied the meeting of mainland pioneer culture and Pacific Island materials. Polynesian Saints from across the Pacific were gathering in Laie to receive temple ordinances, creating a multicultural religious community where Hawaiian, Samoan, Maori, and haole (white) families lived side by side.

The LDS approach to missionary work emphasizes learning local languages and customs—not merely as conversion strategy, but as theological principle. One of the early missionaries mastered Hawaiian so thoroughly that he produced the first non-English translation of the Book of Mormon in 1855. The missionaries married into Hawaiian families, adopted local foods and farming methods, and incorporated Polynesian cultural elements into their worship. Even as they openly sought converts, they also saw themselves as students of Hawaiian wisdom.

Paradise Shared

Captured in our image are at least a few conflicting visions of paradise. The Moana Hotel itself represents economic prosperity through the commodification of tropical beauty. Its guests paid premium rates to experience “the ultimate playground,” complete with hula shows and exotic imagery designed for mainland consumption. By the time of this photo, the hotel’s success had already inspired expansion; wings added in 1918 doubled its capacity.

However, the hotel was built where Hawaiian royalty had once gathered, in a place that embodied the Native Hawaiian principles, very different than Western concepts of land as commodity, beauty as product, and culture as entertainment. Look again at the Banyan tree. Where tourists saw scenery, Native Hawaiians understood kino lau—the gods manifested in every plant, animal, and natural feature. But, Hawaiian language had been banned in schools since 1896, and traditional practices were actively discouraged as territorial authorities promoted “Americanization.”

The Mormon community at Laie offered a third way that, despite its evangelical aims, required genuine cultural engagement. Unlike tourists who consumed Hawaiian imagery, or territorial officials who suppressed Hawaiian practices, Mormon missionaries made learning local ways a theological priority. They understood that successful evangelism required fluency not just in Hawaiian language, but in Hawaiian concepts of kinship, land, and spirituality.

This approach created communities that were simultaneously foreign settlements and island adaptations—places where pioneer traditions mixed with Polynesian extended family structures, where American church hymns were sung in native dialects, and where temple architecture incorporated local materials and building techniques.

Time Travel

The tensions that were at work in 1921 continue today, but so do the possibilities for meaningful cultural exchange. Today’s mālama Hawaii movement invites travelers to participate in coral restoration, native forest planting, and beach cleanups. Visitors can learn about places like Waimea Valley, where ancient cultural sites are preserved alongside environmental restoration. The principle of pono—righteous action—guides travelers to maintain respectful distances from endangered monk seals and sea turtles, to support Native Hawaiian-owned businesses, and to understand that they are guests in a living culture, not a theme park.

The island time we seek now isn’t the vacation fantasy of escape from responsibility, but the deeper rhythm of understanding our place within larger cycles of care and connection. When we travel with curiosity rather than conquest, we discover that the most valuable treasures are the stories and perspectives we gather. Over time, we come to know that every place on Earth is someone’s sacred ground.

In Hawaiian tradition, banyan trees serve as gathering places for spirits, bridges between the physical and spiritual worlds. Perhaps this ancient wisdom explains why the Moana Hotel’s banyan courtyard remains a place of peace amid Waikiki’s transformation—a living reminder that some forms of growth honor rather than diminish what came before.

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