#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

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