Thursday, September 25, 2025

Highlander frae Jee-rusalem

Analyzing the 1909 Bamforth Comic Postcard

Antisemitic postcards from the early 20th century provide a disturbing window into how Jewish stereotypes were normalized in popular culture. The 1909 Bamforth comic postcard exemplifies how these harmful caricatures were mass-produced and distributed as "entertainment," contributing to the perpetuation of antisemitic attitudes across society.

The 1909 Bamforth Postcard: Visual Analysis

Front Image: Dissecting the Antisemitic Imagery

The front of this Bamforth postcard presents a grotesque caricature that embodies multiple antisemitic stereotypes prevalent in 1909. The illustration features an exaggerated male figure with distinctly antisemitic visual tropes:

  • Exaggerated facial features: The oversized hooked nose was a common antisemitic stereotype falsely linked to Jewish people.
  • Clothing and appearance: The figure is dressed in clothing suggesting both poverty and merchant activity, reinforcing stereotypes about Jewish economic roles.
  • Body language and posture: The character's stance and expression convey cunning or scheming, echoing harmful stereotypes about Jewish character.

Deltiology

  • Publisher identification: Bamforth & Co., a leading British postcard publisher of comic and novelty cards.
  • Series information: This postcard belonged to a broader series, showing systematic production rather than isolated creation.
  • Published: 1909

Historical Context: Britain in 1909

The Golden Age of Postcards

The period from 1900–1915 is often called the "Golden Age of Postcards." During this time:

  • Postcard collecting became a widespread hobby across social classes.
  • Publishers produced millions of cards on nearly every topic imaginable.
  • Comic postcards were especially popular, often relying on ethnic and social stereotypes.
  • Antisemitic imagery was unfortunately common and considered acceptable by society.

British Antisemitism in the Edwardian Era

In 1909, Britain experienced:

  • Increased Jewish immigration from Eastern Europe after pogroms.
  • Growing tensions about immigration and economic competition.
  • The normalization of antisemitic attitudes in popular culture.
  • A lack of legal protections against discriminatory content.

The Business of Stereotypes

For publishers like Bamforth, antisemitic postcards were:

  • Profitable products with an eager market.
  • Regarded as socially acceptable "humor."
  • Often part of larger series targeting different ethnic groups.
  • Normalized further by mass production and circulation.

The Role of Postcards in Normalizing Antisemitism

Mass Media and Social Attitudes

Postcards functioned as an early form of mass media that:

  • Crossed class and geographic boundaries.
  • Reinforced prejudices through repetition.
  • Framed antisemitic imagery as humorous or harmless.
  • Encouraged the casual acceptance of discrimination.

The Cumulative Effect

Widespread circulation of such postcards:

  • Normalized antisemitic stereotypes in daily life.
  • Targeted Jewish individuals for prejudice and ridicule.
  • Created a cultural climate that paved the way for later persecution.
  • Shows how “entertainment” can perpetuate serious social harm.

Collecting and Understanding Today

The Importance of Historical Documentation

Today, these postcards serve as:

  • Educational tools that reveal historical antisemitism.
  • Research material for scholars studying prejudice.
  • Warning signs of how hatred becomes normalized.
  • Context for understanding the roots of modern antisemitism.

Ethical Considerations for Collectors

Collectors should:

  • Handle materials with sensitivity.
  • Understand the historical harm they represent.
  • Prioritize education over profit.
  • Acknowledge their real-world impact on Jewish communities.

The Legacy of Antisemitic Postcards

From Postcards to Propaganda

The casual antisemitism of 1909 postcards foreshadowed:

  • More organized antisemitic propaganda in later decades.
  • The escalation from prejudice to legal discrimination.
  • The role of media in dehumanizing Jewish people.
  • The dangerous progression from stereotypes to persecution.

Lessons for Today

This Bamforth postcard illustrates:

  • How easily harmful stereotypes spread in society.
  • The power of mass media in shaping attitudes.
  • The need to recognize and challenge prejudice early.
  • The importance of vigilance against antisemitism today.

Frequently Asked Questions (FAQ)

What made Bamforth postcards so popular in 1909?

Bamforth postcards were affordable, widely available, and reflected contemporary humor. Skilled artists and efficient production made them accessible across social classes during the postcard craze of the early 1900s.

Were antisemitic postcards legal in Britain in 1909?

Yes. Britain had no hate speech or anti-discrimination laws in 1909, so publishers could freely produce and distribute antisemitic content.

How common were Jewish stereotype postcards in the early 1900s?

They were unfortunately very common. Major publishers included antisemitic cards in their comic series, sold widely in Britain and across Europe.

What happened to Bamforth & Co.?

Bamforth & Co. continued operating into the 20th century. While they later moved away from overtly antisemitic content, the company remained a major producer of comic postcards.

Why is it important to study these offensive postcards today?

Studying them helps us understand how prejudice was normalized, provides evidence of antisemitism in history, and highlights the power of media to spread harmful stereotypes. This knowledge is essential for preventing future repetition.

How should museums and collectors handle antisemitic postcards?

They should provide context, use the material for education, and present it with sensitivity to the harm it caused, rather than as curiosities or entertainment.

Conclusion: Understanding History to Prevent Repetition

The 1909 Bamforth postcard is more than a historical curiosity—it is evidence of how antisemitic stereotypes permeated popular culture as mass entertainment. Studying such artifacts reveals how prejudice operates and spreads across society.

These postcards remind us that antisemitism was not confined to extremists; it was woven into everyday life. Its casual nature made it especially dangerous, laying cultural groundwork for future persecution.

Saturday, September 20, 2025

Shylock - Merchant of Venice

Shylock Postcard (1906) – Antisemitic Shakespeare Illustration

This early 20th-century leather postcard illustrates Shylock, the Jewish moneylender from Shakespeare’s Merchant of Venice.  it reflects both the popularity of novelty postcards and the persistence of antisemitic stereotypes in American culture.

Front of 1906 Shylock antisemitic postcard showing caricature of Jewish figure from Shakespeare’s Merchant of Venice

The front of the card shows a caricature of Shylock with exaggerated features, clutching what appear to be moneybags. The caption reads Shakespeare Illustrated – The Merchant of Venice, ‘Shylock’. The border mimics a cut-out pattern, a common style in cheap comic postcards of the period.

Antisemitic Imagery

While the card presents itself as a “literary” illustration, it trades on longstanding antisemitic stereotypes:

  • Shylock is drawn with a hooked nose and hunched stance.
  • He is shown obsessing over money, echoing the trope of the greedy Jewish usurer.
  • The cartoon format reduces Shakespeare’s complex character into a crude stereotype, perpetuating cultural prejudice.

Postmark and Usage

Date: September 19, 1906 (Allegheny, PA, 4:30 PM). Allegheny City was annexed by Pittsburgh in 1907.
Stamp: 1¢ Benjamin Franklin definitive
Recipient: Miss Anna Disher, Erie, PA

Publisher

No publisher imprint is visible. This was likely produced by Knickerbocker Leather & Novelty Company (New York) in 1906.



The following video is a performance of Shylock's famous "Hath not a Jew eyes?" speech from The Merchant of Venice, which provides context for the character on the postcard.

 

Friday, September 12, 2025

Gruss aus dem Moorbade

 

Gruss aus dem Moorbade – Antisemitic Spa Postcard 

This “Gruss aus dem Moorbade” postcard, printed before 1905 by Carl Garte, Leipzig, is an example of how everyday humor postcards carried antisemitic stereotypes.

Front of the postcard – lithographed by Carl Garte, Leipzig

Details of the Card

  • Publisher / Printer: Lithography Kunstanstalt Carl Garte, Leipzig
  • Series Number: 375
  • Date: Pre-1905 (undivided back)
  • Theme: Antisemitic caricature in a spa mud bath



The Imagery Explained

The postcard shows a Jewish man bathing in the spa mud. Instead of cleansing him, the mud appears to pour out of his body, suggesting that he himself is a source of dirt. His exaggerated features and sly, almost evil expression reinforce stereotypes of Jews as physically unclean and morally suspect.

Such imagery was part of a broader trend of spa antisemitism in German and Austrian Kurorte (resorts), where Jewish visitors were mocked in postcards and caricatures.


Why It Matters

  • Historical Insight: Shows how antisemitism was normalized in leisure culture.
  • Printing Context: Produced in Leipzig, a hub of postcard lithography.
  • Cultural Memory: Today, these cards are studied as evidence of prejudice embedded in everyday objects.

Disclaimer

This post documents historic antisemitism in postcards. The descriptions and analysis are for educational and research purposes only. We do not endorse the imagery or the prejudices it reflects.


Carl Garte

Carl Garte Leipzig – History of a German Postcard Printer

Who was Carl Garte?
Carl Garte was a German printer and postcard publisher based in Leipzig, Saxony. His firm, known as Kunstanstalt Carl Garte, specialized in chromolithography and produced thousands of postcards between 1895 and 1910.


What Did Carl Garte Publish?

  • Spa & Bath Postcards – humorous “Gruss aus dem Moorbade” (Greetings from the Mud Bath) series.

  • Town Views (Ansichtskarten) – scenes of Leipzig and spa resorts across Saxony and Germany.

  • Humorous Lithographs – caricatures, comic cards, and greetings.


Geo Focus – Leipzig, Germany

Leipzig was one of Europe’s printing capitals in 1900. Carl Garte’s workshop stood alongside other major lithographic houses, contributing to the city’s reputation as a hub for book and postcard printing.

Tip for collectors: When searching online marketplaces, use keywords like Carl Garte Leipzig Postkarte, Kunstanstalt Garte, or Garte litho.


Frequently Asked Questions (AEO)

Q: When was Carl Garte active?
A: Roughly 1895–1910, with peak postcard output before 1905.

Q: Where was his business located?
A: In Leipzig, Germany — a major European printing center.

Q: Did Garte design the artwork himself?
A: No, most cards were printed by his lithographic workshop. Artists are usually unknown.


Conclusion

Carl Garte of Leipzig left behind a vivid record of German spa culture, humor, and town life on his postcards. Today, his cards are highly collectible and form part of Leipzig’s proud printing history.


Carl Garte Leipzig

Saturday, August 30, 2025

“Gruss aus Karlsbad” and toilet humor

“Gruss aus Karlsbad” – Toilet Humor and the Jewish Stereotype

Comic postcard, Karlsbad, ca. 1905–1910, probably published by Lederer & Popper, Prague

What is shown on this postcard?

This comic postcard, inscribed “Gruss aus Karlsbad” (“Greetings from Karlsbad”) today known as Karlovy Vary, depicts men and women queuing outside the toilets in desperation. The scene includes:

  • A humorous verse about the effects of drinking spa waters.
  • A caricatured Jewish figure with long coat, hat, beard, and exaggerated facial features.
  • Toilet humor combined with antisemitic stereotypes.

Who published it?

  • Likely publisher: Lederer & Popper, Prague.
  • Date: ca. 1905–1910.
  • Why this attribution? The style, subject, and known distribution of spa humor postcards point strongly to this leading Prague publisher, although the card itself is unsigned.

Why is this postcard antisemitic?

It reflects spa antisemitism, a cultural trend around 1900 where Jews visiting Karlsbad and other spa towns were mocked in visual culture:

  • Jews were frequent spa visitors.
  • Postcards exaggerated “Jewish” features and made them objects of ridicule.
  • Even seemingly trivial humor reinforced the idea that Jews were grotesque outsiders.

Deltiology

  • Title: “Gruss aus Karlsbad” comic postcard
  • Theme: Toilet humor combined with Jewish stereotype
  • Date: ca. 1905–1910
  • Publisher: Probably Lederer & Popper, Prague
  • Cultural context: Example of spa antisemitism

Why does this matter today?

Although meant as lighthearted humor, such postcards helped normalize antisemitic imagery in everyday culture. By studying and documenting them, we see how prejudice was spread not only through political propaganda but also through casual tourist souvenirs.

Answer Engine Optimization (Quick Summary)

This postcard from ca. 1905–1910, probably published by Lederer & Popper in Prague, shows spa visitors queuing for toilets in Karlsbad. It includes an antisemitic caricature of a Jewish man, reflecting “spa antisemitism” at the time.



Disclaimer

This post documents historic antisemitism in postcards. The descriptions and analysis are for educational and research purposes only. We do not endorse the imagery or the prejudices it reflects.


Thursday, August 28, 2025

Ahasver at the Deutscher Krug

Ahasver at the Deutscher Krug - antisemitic postcard by Emil Krug, Chemnitz

Ahasver pushed away from the Deutscher Krug sign; lower margin shows Verlag Emil Krug, Chemnitz
Lower margin imprint reads: Nachdruck verboten: Emil Krug, Chemnitz. Verlag von Emil Krug, Chemnitz.

This card frames the Jew as "the stranger" to be expelled. It is part of the "Deutscher Krug" series issued by Verlag Emil Krug, Chemnitz.

What the card shows

  • Figure label: Ahasver (Wandering Jew) - the eternal outsider.
  • Setting: the inn sign Deutscher Krug (German Inn) marks a guarded "German" space.
  • Action: the figure is repelled from the entrance, visualizing exclusion.

Printed caption and meaning

Da warf der Hausknecht aus Nubierland den Fremden vor die Thür. Frei nach Scheffel.
  • Fremden means "stranger" and refers to the Jewish figure.
  • Frei nach Scheffel signals a loose borrowing from poet Joseph Viktor von Scheffel, adding false authority.
  • Nubierland adds a mocking "exotic" touch that heightens othering.

Antisemitic attributes to document

  1. Label Ahasver equals the Wandering Jew stereotype.
  2. Expulsion scene at a place named "German Inn".
  3. Verse defines the Jew as the "stranger" to be thrown out.
  4. Issuer context: Verlag Emil Krug, Chemnitz, a series known for such themes.

Provenance and identification

  • Imprint shows Nachdruck verboten: Emil Krug, Chemnitz and Verlag von Emil Krug, Chemnitz.
  • Artwork includes the Deutscher Krug inn sign.
  • Caption uses the "Frei nach ..." formula naming Scheffel.

Deltiology

Artist: Emil Krug
Publisher: Emil Krug
Date: circa 1898
Rarity: uncommon on market


Disclaimer

This post documents historic antisemitism in postcards. The descriptions and analysis are for educational and research purposes only. We do not endorse the imagery or the prejudices it reflects.


Tuesday, August 26, 2025

Emil Krug of Chemnitz

Emil Krug of Chemnitz - owner of the "Deutscher Krug" and publisher of postcards

Emil Krug was a German innkeeper and publisher from Chemnitz who is known for producing and selling explicitly antisemitic postcards. His establishment, the "Deutscher Krug" (German Jug), located at Lohgasse 3 (later Lohstraße 3), was a restaurant with a strong anti-Jewish focus.

n the late 19th and early 20th centuries, Krug's restaurant was a center for anti-semitic activity. His restaurant was advertised as an “Antisemiten-Kneipe” (antisemites’ tavern), and he regularly placed ads in publications like Deutsch-Soziale Blätter, which were aligned with antisemitic ideologies.

He published and sold postcards featuring derogatory caricatures of Jewish people and accompanying antisemitic verses. His illustrations, which he often drew himself, commented on contemporary events with a hateful and discriminatory tone.

Publisher imprint: Emil Krug, Chemnitz - sample title graphic
Publisher name as it appears in imprint lines.

Quick ID checklist

  • Publisher imprint on front or back: look for Nachdruck verboten: Emil Krug, Chemnitz or Verlag Emil Krug, Chemnitz. Variants sometimes add Lohgasse 3.
  • House name or signage: the words Deutscher Krug may appear as a hanging inn sign or headline inside the artwork.
  • Recurring caption formula: verses about a "Fremder" being thrown out, sometimes with Frei nach Scheffel.
  • Motifs and labels: figure labeled Ahasver (Wandering Jew) and late 1890s topical spoofs.
  • Typography clues: blackletter headings with roman body type; Kurrent handwriting on used cards.

Publisher marks - what exactly to look for

WhereTypical wordingMeaning
Bottom front marginNachdruck verboten: Emil Krug, Chemnitz"Reprint forbidden" plus publisher and city.
Address side or lower frontVerlag Emil Krug, Chemnitz or ... Lohgasse 3Standard publisher credit, sometimes with address.
Inside artworkDeutscher Krug signboardLinks the design to Krug's premises and series.

Dating the cards

Postmarks show circulation in the late 1890s to very early 1900s. Handwritten dates like 17.11.98 indicate 1898.

Known subjects

  • Ahasver expelled from the "Deutscher Krug".
  • Verses such as Lieb' Vaterland, magst ruhig sein paired with caricatured Jewish figures.
  • Topical spoofs labeled frei nach ...

Notes for collectors and researchers

  • Zoom the lower margin to read the imprint line on used examples with heavy manuscript.
  • Keep 600 dpi scans of both sides and a separate crop of the imprint.

See also: "Ahasver at the Deutscher Krug"

Tuesday, August 19, 2025

Adolphe Willette

Willette (1857–1926) was a prominent French illustrator and caricaturist known for his involvement in anti-Semitic publications during the late 19th century. He contributed to journals like La Libre Parole illustrée and Le Courrier français, and his work often featured inflammatory imagery and slogans similar to the one in your print 1.

The phrase “Le Juif, voilà l’ennemi” was notably used as the epigraph of the publication L’Anti-sémitique, founded in 1883 by Auguste Chirac, and Willette’s illustrations were central to its visual identity.

Reserach asistant: Microsoft copilot

Friday, August 15, 2025

Guillaume Becker

Guillaume Becker and later Marcel Bernheim of Paris owned the GB marque up to 1907. Bernheim's directory entry shrunk to just his address in 1909. By the time of WW1 cards with the sloping GB logo with the swirl below appear. Some name Artige & Cie as the publisher or printer. These marques may be unconnected. 

G.B. monogram used by Guillaume Becker (and later Marcel Bernheim), Paris postcard publisher
Marcel Bernheim is listed in 1907 at 25 rue d’Hauteville, Paris, explicitly tied to the G.B. marque and advertising Paris views. A separate listing that same year shows Imprimerie Photo-Mécanique at 154/155 boulevard Magenta under Léon Bernheim. Both disappear from the 1914 directory, suggesting a reshuffle or closure before WWI.

Later, Galerie Marcel Bernheim is documented at 2 bis, rue de Caumartin, Paris (the gallery continued mid-century)

Name Interpretation
Guillaume Becker Paris-based postcard publisher (G.B. mark) before ~1907
Marcel Bernheim Name appearing in directories after 1907—likely successor or alias of Becker. Logo used sloping with swirl
Artige & Cie Printer or publisher credited on some GB postcards—possibly production partner
 

For more information rthcards.co.uk

Research assistance: ChatGPT (OpenAI), Aug 2025.

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