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):

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

Dexter Press, Inc. was founded by Thomas A. Dexter in 1920 as a one-man operation in Pearl River, New York. It became renowned for its innovation and craftsmanship in postcard production. Notably, they were responsible for creating the first natural color postcard in 1932.

"Silvercraft" typically refers to items made from silver or silver-plated materials. Dexter Press, based in Pearl River, New York, was a well-known printing company that produced a wide range of items, including postcards. If you have a postcard with "Silvercraft - made by Dexter Press, Pearl River" on the back, it might indicate that the postcard was printed by Dexter Press and perhaps features an image or design related to silver craftsmanship. It could be a vintage or collectible postcard produced by the company.

Sagamore Rest Cabins, Cape Cod, Massachusetts

Sagamore Rest Cabins was a lodging establishment located in Cape Cod overlooking the Cape Cod Canal, about a 1000 feet off the main road. Their advertising specifically stated "Gentile Clientele" meaning No Jews! (see the story here).

Deltiology

Artist: Taken from a photograph
Publisher: H. K. Skinner & Son, Pearl River, New York
Printer: Dexter Press Incorporated
Date: White Border era 1915-1930. As the printer was Dexter Press which only was only established in 1920, we can say that this was from 1920 to 1930.
Printing Type: Lithograph

Based in Portland Oregon.

They were active from the time of the 1905 Lewis and Clark Exposition in Portland. The International Postcard Company advertised themselves as Publishers, Importers and Jobbers (whatever that may be) and they had offices in the Goodnough Building in Portland, Room 202.



Thank you Christopher Penning for the assistance

Donn P. Crane, was born in Missouri in 1878, the son of Day Otis Crane.

He was known for his work primarily in the early 20th century. He is fondly remembered for his contributions to the *My Book House* series, where he illustrated stories, tales, and legends for children. His illustrations were characterized by their detail and sophistication, even though he worked with limited color palettes due to the use of pen and ink and copper plate engravings.
Crane's work included a variety of subjects, such as history, legends, and fairytales, and he was recognized for his ability to inspire generations of kids to understand the world around them through his art.

Despite the limitations of his medium, his illustrations were intricate and conveyed a sense of depth and texture that rivaled the artistry of other great illustrators of his time.

Donn P. Crane, whose full name was Donn Philip Crane, passed away on April 24, 1944, at the age of 65. He died in Chicago, Cook County, Illinois, and was buried at Oak Woods Cemetery in Chicago

Hubin's Big Post Card Store was based in Atlantic City, New Jersey.

In the 1850s, Atlantic City emerged as New Jersey's iconic resort destination, pioneering a new era of coastal leisure. It was a groundbreaking collaboration between the burgeoning railroad industry and visionary entrepreneurs, marking the dawn of expansive shoreline development. Backed by railway investors and local manufacturers, the Camden and Atlantic railroad was constructed to realize the vision of an unparalleled resort experience. Today, Atlantic City is synonymous with its famous boardwalk, which was introduced in 1870 and is now adorned with dazzling casinos juxtaposed against pockets of urban poverty.

Frank Hubin, manager of Roving Frank's Gypsy Camp in Atlantic City, was born in 1869 and also owned early movie theaters in New Jersey.

The post card store was probably established to cater for tourits. Ut is known for its collection of classic postcards, some dating back to the early 20th century. While specific details about the exact establishment date of Hubin’s Big Post Card Store are not readily available, we do know that postcards from the store are available from as early as circa 1907-1915. This suggests that the store was in operation during the early 20th century, a period often referred to as the “Golden Age of Postcards” (1907-1915) in the United States.
During this time, postcards were a wildly popular form of correspondence and collectible. The store likely thrived during this era, contributing to the cultural history of Atlantic City by providing residents and visitors with a means to share and collect images of the city’s iconic locations and humorous sayings of the time.

Check these postcards from this publisher:

Our flag

Not much can be identified about this postcard. It is entitled "at the Dawn of the 20th century"

The Geneva printer Louis Bron, future mayor of the Faubourg de Saint-Gervais, took up the title of a theatrical review published from 1878 to 1879 in October 1894. For the drawings, he secured the collaboration of Polyte, alias Albert Gantner, then Noël Fontanet and René Pellarin, known as Pellos.

The postcard image shows a "Stereotypes of Jews" where a seemingly Jewish man, is trying to bribe a woman.

Deltiology

Artist: Polyte
Publisher: Gauss magazine
Printer: Switzerland
Date: 1900
Printing Type:

Albert Gantner, also known by the alias Polyte, was a Swiss artist and caricaturist active around the turn of the 20th century. He was known for his satirical illustrations and caricatures, often published in newspapers and magazines of the time. While not as widely recognized today as some other artists of his era, Gantner's work reflected the social and political climate of Switzerland during that period.
Polyte collaborated with the Geneva-based printer Louis Bron. Together, they worked on a satirical and humorous weekly publication called “Guguss’”, which was first issued in October 1894.

Albert Gantner, under the pseudonym Polyte, contributed illustrations for “Guguss’”, along with other artists such as Noël Fontanet and René Pellarin, known as Pellos. The weekly was popular, autographed, and small in format, costing only ten centimes. It was known for its satirical take on military and political manners, members of the Free Church, and it often made fun of the people from Vaud in a very oral and mocking style characteristic of Saint-Gervais.

The publication faced censorship during World War I; it was banned in 1914 for mocking the Kaiser and was renamed “Petit Suisse” until 1917. After the war, it resumed its original name and continued until its final issue in December 1936. “Guguss’” was aligned with young radicals and anarchist trends, reflecting a critical and humorous perspective on society at the time.

"The Merchant of Venice" is a play by William Shakespeare that has sparked much debate over its portrayal of Jews and the character of Shylock, a Jewish moneylender. The play is set in Venice, where Shylock lends money to Antonio, a Christian merchant, with the stipulation that if Antonio fails to repay, Shylock may take a pound of his flesh.

Antonio borrows the money for his friend Bassanio, who needs it to court the wealthy heiress, Portia. When Antonio's ships are lost at sea and he cannot repay the loan, Shylock insists on his bond. In court, Portia, disguised as a lawyer, argues that Shylock can take his pound of flesh but not a drop of blood, rendering the bond impossible to fulfill without killing Antonio, which is unlawful.

The play ends with Shylock being forced to convert to Christianity and losing his fortune. The treatment of Shylock has been interpreted as a reflection of the antisemitism prevalent in Shakespeare's time. The character has been variously portrayed as a villain or a sympathetic figure, and the play's depiction of Jews has been the subject of scholarly debate and differing interpretations in various productions throughout history.

The English phrase “a pound of flesh” originates the play “The Merchant of Venice. It refers to a demand for repayment, regardless of the cost or consequences to the debtor. Shylock, a Jewish moneylender, agrees to lend money to Antonio on the condition that if the loan is not repaid, Shylock is entitled to a pound of Antonio’s flesh. The phrase has come to symbolize an insistence on being repaid, even if the repayment will destroy or harm the debtor

The postcard image shows Shylock looking a bit evil.

Deltiology

Artist: Sydney Carter
Publisher: S. Hildesheimer & Company Limited
Printer: Bavaria
Date:
Printing Type: Lithography

Sydney Carter, born on April 2nd, 1874 in Maudeville Road, Lock Lane, Enfield, Middlesex. He was the son of Richard Samuel Carter and Emma Elizabeth Littler. He was a painter of landscapes and portraits, as well as a cartoonist. He painted in oil and gouache and was known for his studies of trees. Carter studied art at Buckhurst Hill Art School, Walthamstow School of Art, and the Royal College of Art in London, where he won several medals and awards.

In 1923, Carter moved to South Africa and became involved in the local art scene, including the Orange Free State Society of Arts and Crafts. He settled in Johannesburg in 1926 and was appointed to the staff of Witwatersrand Tech College Art School. Carter became well-known for his oil and gouache studies of trees and illustrated several books.

Died 21 Dec 1945 at age 71 in Johannesburg, South Africa.

Based in London and Manchester, England

Siegmund Hildesheimer (1832 to 1896) born in Halberstadt, Germany to Jeish parents, Abraham Hildesheimer and Sara Meyer. He moved to Manchester in the mid 1870s.

He moved to Manchester in the mid 1870s. As a publisher, Siegmund Hildesheimer  & Co Ltd was known for Christmas and other greetings cards, and postcards, produced by them, at 63 Miller Street, Manchester and 14-16 Silk Street, London England.

Hildesheimer also contracted the printing of postcards with many local publishers and through an office in New York City

William Lyon

Based in Glasgow, Scotland.

Born in 1845 in Troon, Ayrshire, William Lyon displayed early artistic talent. In 1867, following his marriage, he relocated to Glasgow. By 1868, he was listed as a stationer in the Post Office directory, expanding his services in 1869 to include die-sinking and crest embossing.

By 1871, Lyon's business had flourished, employing a staff of one man and nine girls in Sauchiehall Street. Over the years, Lyon's stationery enterprise continued to evolve. By 1885, he had established a presence with a shop at 389 Sauchiehall Street, a printing factory across the street at 474 Sauchiehall Street, and a retail branch in the Argyll Arcade.

Notably, Lyon revolutionized the stationery industry by introducing private Christmas cards, departing from the traditional slip-inset method. This innovation propelled demand, necessitating the expansion of Lyon's operations with the opening of his factory.

In 1888, Lyon showcased his diverse offerings, including visiting cards, at an exhibition, boasting a three-minute production service. By 1898, Lyon's commitment to progress was evident with the adoption of telephone communication at his factory.

Continuing to expand, Lyon operated four shops by 1900, strategically located across prime retail areas in Glasgow. In 1905, Lyon further consolidated his presence by establishing a shop at 177 Sauchiehall Street, later acquiring adjacent premises to form Lyon Corner.

By 1910, Lyon restructured his business as Lyon Ltd, entrusting its management to his eldest sons. Tragically, William Lyon passed away in 1913, leaving behind a legacy of innovation and entrepreneurial spirit.

In 1922, Lyon Ltd showcased its diverse range of products at the British Industries Fair, highlighting its premier series of cards, invitations, stationery, and silk pincushions, reflecting Lyon's enduring influence on the stationery and publishing industry.

For more information, see https://undividedbackpostcard.com/directory-l/#Lyon

Check these postcards from this publisher:

Joseph's Coar

Not much is known about this Glasgow landscape artist. W Milne Black was known to have designed some comic postcards.