Alfred Holzman, a German immigrant, arrived in America in 1881, bringing with him entrepreneurial spirit and a keen eye for business opportunities. Nearly two decades later, in 1900, Holzman established his postcard publishing company in Chicago. The Alfred Holzman Company quickly gained recognition for its high-quality postcards, becoming a notable player in the burgeoning postcard industry.

During the first decade of the 20th century, postcards experienced immense popularity in the United States. Holzman's company capitalized on this trend, producing a wide range of postcards that captured the imagination of the American public. The company's success mirrored the overall growth of the postcard market during this period.

However, the postcard industry's fortunes took a dramatic turn in 1909, largely due to the unintended consequences of the Payne-Aldrich Tariff Act. Signed into law by President William Howard Taft, this legislation aimed to lower tariffs but paradoxically resulted in increased tariffs on many items, including imported postcards. The impending implementation of the tariff sparked a rush among distributors to import large quantities of postcards, primarily from Germany, before the new rates took effect. This led to a significant oversupply in the market, causing prices to plummet and triggering intense price wars among publishers and retailers. Many businesses found themselves forced to dump excess inventory at greatly reduced prices.

Furthermore, the increased cost of importing postcards due to the new tariff made it less profitable for businesses to continue operating in this sector. The combination of market oversaturation and increased costs dealt a severe blow to the entire postcard industry in the United States.

The Alfred Holzman Company, despite its earlier success, was not immune to these market forces. The collapse of the postcard market in 1909 severely impacted the company's operations, and it struggled to maintain profitability in the face of these challenges. Ultimately, the pressures proved too great, and the Alfred Holzman Company closed its doors in 1910, marking the end of a decade-long run in the postcard publishing business.

Harry Hershfield brainchild of "Abie the Agent," debuted in 1914 and featured a Jewish car salesman named Abie Kabibble. The strip was one of the first in American comics to prominently feature a Jewish character and to explore themes relevant to the Jewish-American experience. These were known as Kabibble Cards.

The postcards featured humorous illustrations and captions, often depicting Jewish stereotypes in a light-hearted and affectionate manner. 

Harry Hershfield's Jewish heritage played a significant role in his work and personal identity. Born in 1885 to Jewish immigrant parents in Cedar Rapids, Iowa, Hershfield grew up in a culturally Jewish environment that influenced his humor and artistic expressions. This background influenced his understanding of Jewish culture and traditions, which became a central theme in his work. He was known as "the Jewish Will Rogers".

Growing up in a Jewish community, Hershfield was immersed in the cultural and social aspects of Jewish life in America, which later provided rich material for his cartoons and comics.

Hershfield's most famous comic strip, "Abie the Agent," debuted in 1914 and featured a Jewish car salesman named Abie Kabibble. The strip was one of the first in American comics to prominently feature a Jewish character and to explore themes relevant to the Jewish-American experience. Hershfield's work often included elements of Jewish humor, characterized by wit, irony, and a focus on the everyday experiences and challenges of Jewish life. His cartoons resonated with both Jewish and non-Jewish audiences, bridging cultural gaps through humor.

As one of the early Jewish cartoonists in American media, Hershfield helped pave the way for future Jewish artists and writers. His work offered a positive and relatable depiction of Jewish characters at a time when such representations were rare. Beyond his cartoons, Hershfield was active in Jewish communal life. He frequently participated in events, wrote for Jewish publications, and supported various Jewish causes, demonstrating his commitment to his heritage. Hershfield's contributions to comic art and his role in representing Jewish culture earned him lasting recognition. His work continues to be studied and appreciated for its cultural significance and artistic merit.

Harry died on December 15, 1974.

Check these postcards from this series:

Many a man buys wine for a customer that can be landed on beer

Colourpicture Publishers, Inc. was a prominent publisher and printer of linen view cards in the United States. It was situated on Newbury Street with a factory at 76a Atherton Street. From 1938 to 1969, the company was based in Boston and Cambridge, Massachusetts.

In addition to linen view cards, they expanded their offerings in the 1950s to include photochromes and small spiral-bound picture booklets under the trade name Plastichrome

The Arnold Hotel of Miami Beach, Florida was situated by the ocean at 86th Street.

Most exclusive in the North Beach section of Miami Beach, also with a private beach, but more importantly, only Gentile Clientele.

Harry A. Brown was the owner of the hotel and in November 1942 agreed to rent the entire hotel to the army. I wonder what would happen if he found any Jews amongst the soldiers.

Deltiology

Artist: Taken from a photograph
Publisher: Colourpicture Publishers, Inc
Date: Postmark 1942
Printing Method: Linen Postcard

The Tichnor Brothers Inc. was a Boston-based firm known for its postcards. It was an American graphic arts and printing company that operated from 1908 to 1987. They were based in 251 Causeway Street, Boston, Massachusetts. 

Falmouth Associates, The Moors, Falmouth, Cape Cod, Massachusetts A Carefully Restricted Community With golf, tennis, boating and bathing.

The Moors was an exclusive community that prohibited the sale of property to Jewish individuals. It consisted of 60 homes located in and around Elm Road in Falmouth. The community association was established in 1925 and offers a variety of amenities including a clubhouse, two tennis courts, 12-acres of open space, private beach on Vineyard Sound, beach house and a diving raft. 

Founded in 1922, it originally operated as Midwest Map Co., producing maps and postcards. However, map production ceased in the 1950s. The company then became MWM Color Press.

In the 1980s, they acquired Dexter Press from Pearl River, New York, leading to the name change to MWM Dexter. Dexter Press is credited with creating the first natural color postcard in the printing industry.

Over time, MWM Dexter has adapted to technological changes, including the transition to direct-to-plate printing.

Some of their postcards were printed in lithography with a Bursheen finish. Lithography allowed for detailed and colorful illustrations or photographs on postcards and the term “Bursheen” describes a glossy, slightly textured surface applied to postcards. It enhances visual appeal and gives the postcard a smooth, shiny appearance

#postcards #stereotype

Stanley Herbert was a British illustrator
Image license: CC BY-SA 4.0

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I've been poisoned

Hutson Brothers Limited, a firm specializing in printing and publishing, was established at 146 London Road, Croydon, Surrey, Great Bitain.

In 1904, Percy Hutson began his journey with the Pictorial Postcard Company as a sales agent while residing in Cornwall. The company's liquidation in 1908 prompted Percy and his brother to purchase its remaining assets, including stock, goodwill, and furniture, for a sum of £102. They maintained operations at the company's former location, 15 Red Lion Square, London, W.C. Subsequently, they secured an exclusive deal with the renowned artist Donald McGill, becoming the sole distributors of McGill's Comics and the Red and Black Series, with a commitment to issuing new postcards weekly.

Despite this partnership, McGill was dissatisfied with the brothers' personal behavior and the quality of their postcards, leading him to distribute his work through other channels.

For more information, click here

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I've been poisoned

#postcards #stereotype #Unwelcome #kolner_Hof

Eduard Buettner & Company a German postcard publisher based in Berlin. The company was active from 1880 until they closed their postcard publishing in 1906. Here are some key details about the company:

• Inception: The company was established 1880
• Dissolution: Closed their postcard business by mid 1906 and announced to concentrate on playing card production only. Huge stocks of cards and other items were on sale, incl. their latest postcard series, printing finished in Sept. 1906. Also all their presses and other equipment used for embossing, gilding etc. was for sale.
• Products: Greetings cards & deluxe paper manufacturers, later also known for playing cards
• Owners: Owners in 1898 were a Max Loewenstein and Ferd. Nagelschmidt
• Address: Oranienburgerstr. 59, Berlin N.
• Printing process: Early chromolithographic

The company's trademark was the initials E.B.& Co. i. B.(erlin) followed by the card/series number.
On Feb. 1, 1908 the entire Buettner & Co. playing card business was bought by their competitor and a leading playing card manufacturer  “Vereinigte Stralsunder Spielkartenfabriken AG”.
For more information, check here

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Three little pigs

The Adolph Selige Publishing Company was an American postcard publisher based in St. Louis, Missouri. The company was active in the early 20th century and is known for its wide range of postcards. Here are some key details about the company:

• Inception: The company was established on May 23, 1905. 
• Dissolution: It was dissolved on November 28, 1910. According to: https://commons.wikimedia.org
• Products: They produced a variety of postcards, including views of different cities, landmarks, and thematic cards such as holidays and greetings. 
• Significance: Adolph Selige Publishing Co. contributed to the golden age of postcards, which was a popular means of communication and collection at the time.

#postcards #stereotype #Unwelcome #kolner_Hof

Postcards from the early 20th century often reflected the prevailing attitudes and stereotypes of the time, including those related to ethnicity and religion. Unfortunately, anti-Semitic sentiments were not uncommon during this period, and derogatory depictions of Jews were sometimes used for humor or to perpetuate negative stereotypes.

Postcards with the image of a Jew picking up garbage accompanied by the text "my business is picking up," is an example of such derogatory imagery. The phrase "my business is picking up" is likely intended as a pun, playing on the idea of picking up garbage as a literal occupation and suggesting that this is somehow associated with being Jewish.

These kinds of images and messages were part of a broader trend of anti-Semitic propaganda and discrimination that Jews faced in many parts of the world during the early 20th century. While such imagery is offensive and harmful, it can also serve as a reminder of the persistence of prejudice and the importance of challenging stereotypes and promoting understanding and tolerance.

Deltiology

Artist:  Publisher: Ely, Boynton & Ely Printer: Date: 1905, Postmarked 1907 (undivided back)
Artist:  Publisher: International Postcard Company Printer: Type: Leather Date: 1905 (Lewis and Clark Exposition in Portland)
Artist:  Publisher: Adolph Selige Pub Co., St. Louis, Missouri Printer: Type: Regular Date: 1905 - 1907 (Undivided back)

#postcards #JewsAreDifferent

The Emil Pinkau Lithographic Art Institute was established on October 1, 1873, at 19 Brüderstraße, Leipzig. Initially focused on business printed materials, the company later expanded to include reproductions of old masters for art books and portfolios. By the late 1870s, the company had also begun specializing in postcards, making it one of the earliest manufacturers in this field.

Emil Pinkau (1850-1922) began with no capital, slowly equipping his factory over time. His first high-speed lithographic press was acquired in 1883. Pinkau worked tirelessly, both day and night, to build his business. The company’s growth necessitated several relocations starting in 1877. In 1898, a large new factory with its own railway connection was constructed at the corner of 15 Wittenberger Strasse and 13 Dessauer Strasse, which was further expanded in 1906 and 1910.

Pinkau quickly specialized in photolithographic views, initially producing Leporello albums, which are books of photographs in a concertina format. The high quality of Pinkau’s photolithographic work was recognized with the Grand State Prize for Leporello albums at the 1893 World Exhibition in Chicago.

The Lithographic Art Institute soon gained a reputation for its postcard printing. Pinkau was among the first to recognize the potential of this emerging mass medium. A 1911 letterhead advertised their specialty since 1879: large print runs of viewing postcards. Pinkau's focus remained on printing, as evidenced by the 1911 letterhead, which explicitly stated: "No publisher – only fabrication."

In 1902, Johannes Pinkau (1879-1958), Emil Pinkau’s eldest son, joined the company as technical manager, contributing significantly to innovations and advancements in the following years. By 1904, Pinkau had transformed his sole proprietorship into a stock corporation, Emil Pinkau & Co AG. In 1903, company letterheads noted 16 high-speed presses and 40 auxiliary machines, growing to 32 high-speed presses and 150 auxiliary machines by 1911. The workforce also expanded from 200 employees in 1904 to 450 in 1911.

In 1909, Dr. Trenkler & Co AG, a major competitor in the postcard industry, sold off its publishing division. By 1938, Emil Pinkau AG had claimed most of the profits from the Trenkler-Verlag.

For more information: TPA article 15

Emil Köhn, a master of the printing craft, made his mark in Munich, Germany, in the waning years of the 19th century and the dawn of the 20th. His legacy, though not richly detailed in historical records, is anchored in the exceptional quality of his print work, with postcards being his notable forte. His company was also published as "Emil Köhn Noris" (= from Nürnberg/Nuremberg) or "Emil Köhn Nürnberg" at some time. His office in Munich was first at Elvirastr #2 then moved to Maria-Theresiastr, 16

At that time, Munich was a bustling nexus of artistic, cultural, and industrial activity, and the demand for printed works was high. Köhn's print shop was likely a linchpin in this milieu, adding to the city's effervescent cultural and economic fabric.

His collaboration with Ottmar Zieher, an esteemed figure in the postcard publishing realm, speaks volumes of Köhn's esteemed status in the printing community. His alliance with Zieher, who was famed for his postcard expertise, indicates Köhn's esteemed skill set and dependability in churning out attractive and marketable print pieces.

While the particulars of Köhn's imprint on the industry are scant, his name is still intertwined with Munich's spirited cultural tapestry of his time. His print work, especially the postcards that captured the essence of Munich's beer-centric social life, mirrors the confluence of business, creativity, and the local ethos prevalent in Munich during that epoch.

Here is an example (Check the original post here):

Check these postcards from this printer:

"Gruss aus" series Distorted Bodies

Rebecca having a bath

The postcard is a part of the “Gruss aus” or “Greetings from” type of postcard design which was widespread around 1894-95.

In this case it depicts three Jews with very distorted bodies, their hooked noses very prminent in the image as well.

Marienbad was a luxury spa town in Czechoslovakia, catering to upper middle class clientele, of which there were many Jews.

Postcards show messages that show that although Jews may be wealthy, they will not really fit in and will remain alien.

Deltiology

Artist:
Printer: Emil Köhn
Publisher: Ottmar Zieher
Printing Type: Chromolithography
Date: 1898 (postmark)



#postcards #JewsAreDifferent

The publisher was born on August 7th, 1857 in Schwäbisch Gmünd,a town in Baden-Württemberg, Germany and died on November 27th, 1924 in Munich after a busy life.

Zieher opened his first company, a "paper and envelope shop", in 1880 in Munich, Damenstiftstrasse 6. This was followed by a stationery shop and a factory for jewelry goods at Sendlinger Strasse 1. In 1889 he opened a paper shop at Pfisterstrasse 6, which was expanded in 1890.

Finally, 1892/93, he opened the "Art Publishing House" at Hofstatt 6/1. Between 1890-1895 he established business connections in Leipzig, where he worked with the painter Arthur Thiele.

From 1900 the publisher was listed as follows in the commercial register: Postcard publisher Ottmar, Kunst- und Verlagsanstalt, Munich-Leipzig, Hofstatt 6/1, Munich; production of postcards of all kinds; Specialty: artist postcards. In 1901, Zieher bought a house at Boosstrasse 8 (in der Au), to which he moved the facilities. Ottmar Zieher is listed in the address book of the time as the owner of the art establishment and purveyor to the court of HRH Prince Albert of Belgium. At this point, Zieher appeared as a patron of young artists. With a "retail business and wholesale tax, specificaly: picture postcards and artist postcards" Munich, Altheimereck 11, Zieher rounded off his business activities in 1911.

He was always active only as a publisher and not with the printing of cards. He had cards printed by one of two Munich companies: Karl Stücker and Hubert Köhler.

Due to the First World War, business processes were relocated to the factory at Boosstraße 8. His sons Ottmar Zieher Jr. and Franz Joseph Zieher joined the company in 1920.

After Ottmar Zieher Sr. died in 1924, his son Ottmar ran the art institute at Altheimereck 11 and the factory at Boosstraße 8. His brother was a co-owner of the company. The publishing house also survived the Second World War. In 1950 the company was finally entered in the commercial register as "postcard publisher Ottmar Zieher and Franz Zieher". The death of Ottmar Zieher Jr. in 1952 then led to the dissolution of the publishing house. His brother Franz Joseph died in 1968.

Zieher's legacy in the postcard industry remains profound, as his support for emerging artists through commissions cemented his status as a patron of the arts. Today, collectors and enthusiasts continue to cherish Zieher's postcards, particularly those from his esteemed artist series, a testament to their enduring appeal.
In 1900, Ottmar Zieher used chromolithography as the primary printing method for his postcards, including the “Gruss aus Karlsbad” series. For information about Chromolithography, read here.  

The “Gruss aus” or “Greetings from” type of postcard design became widespread around 1894-95, and Zieher was one of the well-known publishers who utilized chromolithography to create these visually appealing cards. The process was quite labor-intensive and required skilled lithographers and pressmen, as it involved numerous color runs and a longer production time. Despite the complexity, this method allowed for the creation of high-quality, artistic postcards that were sought after by collectors and the general public alike.

For more information, see Ottmar Zieher

Check these postcards from this publisher:

"Gruss aus" series Distorted Bodies

Rebecca having a bath