• POSTCARD EVENTS

    ‘Tis the season for a pause but you can often find postcards at stamp shows or antique shows.
    Use the links to search for one near you.

    Next Meeting Sat. Jan 12th, 1pm  – AGM & Meet ‘n Greet Social Details here. 

     

The Canadians Are Coming! Postcards of Our Great War Soldiers

As the hundredth anniversary of 11 November 1918 — the end of the Great War — approaches, we will take a look back at what postcards of the time tell us about the four long years that took such a toll on the people of Canada, Newfoundland and many other countries. Coincidentally, the war years brought down the curtain on the “Golden Age of Postcards”; while the medium continued to be popular, the postcard industry as a whole no longer exhibited the vitality and variety of its pre-war heyday.

Keeping the old flag flying

Postcards mailed in the summer of 1914 can provide us with insights into how ordinary people in the sedate turn-of-the-century world responded to the sudden intrusion of war into every aspect of life. Exhibit 1 is the Stedman Bros. “patriotic” shown below, which depicts departing Canadian soldiers while assertively proclaiming: “Canada Will Do Her Duty To Keep The Old Flag Flying”.

Stedman Bros. no. 2539, with an added photographic image.

On turning the postcard over, we find that it was posted at Toronto on 13 September 1914, barely a month after the state of war officially began. In fact, things had unravelled so quickly that the Canadian National Exhibition had no opportunity to re-think its 1914 theme of “PEACE YEAR”, neatly incorporated into the special CNE “slogan cancel” that we see here.

Verso image of the card as posted to Wimbledon, Surrey on 13 September 1914.

One might wonder how Stedman Bros. managed to print up World War I cards such as this so quickly. The answer is that they didn’t, really — this example, numbered S.B. 2539, was in fact an old Stedman card on which the small photograph of the departing soldiers was pasted (the card originally featured a coloured illustration of an R&O ship). To complete the metamorphosis, the caption about “doing her duty” was overprinted on the image in silver lettering. (Indeed, since Stedman Bros. are thought to have exited the postcard trade in 1914, it is possible that the refurbishment of these cards as World War I souvenirs was someone else’s handiwork.)

The message itself is, of course, another place where we might hope to find  reference to the big news from Europe. However, even though her words were destined for England, the writer didn’t acknowledge that anything out of the ordinary was going on. By the end of her note she had apparently run out of things to say — or so we might surmise, given that she filled the rest of her space in the time-honoured way, with bland observations about the weather!

The 79th Cameron Highlanders

The story of the Queen’s Own Cameron Highlanders of Canada is well told on the regiment’s own website. The Camerons, from Winnipeg, were the first Highland regiment in the West, having been founded on 1 February 1910. It is unlikely that the original members would have anticipated the sacrifices that they and their mates would be required to make within just a few short years. Even at the Decoration Day festivities on 10 May 1914, as depicted in the Maurice Lyall real photo postcard below, it is unlikely that the kilted marchers imagined that before the summer was out, some of them would be halfway across the country, and then halfway around the world, fighting for real.

10 May 1914. The building in the background was the University of Manitoba. The Broadway Armoury stood directly across the street, on the site of what is now the Manitoba Legislature.

We encounter the Camerons again on the Valentine & Sons postcard below (106,330), which may well have based on a photograph taken the same day (and perhaps by the same photographer) as the postcard above. Posted on 22 September 1914 by a Royal Bank of Canada employee to a colleague who had evidently been transferred to the Bank’s Vancouver branch, its message does refer, indirectly, to the War:

To Mr. J. A. Noonan, Royal Bank, Campbell Ave., Vancouver, B.C.:

“Hello Mr. Noonan, Just to remind you we have not quite forgotten you in the exciting times we have been having. Glad to hear you have not much to do but don’t get too fond of doing nothing and forget all about Winnipeg. Every body happy in the R. B. of C.”

Valentine & Sons card showing the soldiers standing on Broadway, looking out from the Drill Hall.

The 79th trained first at Camp Sewell, near Brandon, and were then sent out to Valcartier, Quebec, just outside the city of Quebec. The following “John E. Walsh” postcard was acquired simply as a handsome Quebec “patriotic” but turned out to have some interesting Cameron Highlanders content on the reverse:

Grande Allée, Quebec City. Patriotic postcard published by John E. Walsh, a Quebec stationer.

The first thing to note about the back of the Grande Allée card is that it is cancelled with a slogan cancel for the Quebec Provincial Exhibition (31 August – 5 September 1914). Unlike Toronto’s Canadian National Exhibition, the 1914 theme in Quebec was not “peace” but “health” (“l’année de la santé”).

Back of the card, with a message from “R. M.”, then in training at Valcartier. The message is transcribed below.

As the Camerons’ website notes, only a limited number of the 79th’s members were sent to Valcartier and then on to England in the summer of 1914. At Valcartier, the Camerons were merged with others from across the country as the 16th Battalion of the Canadian Expeditionary Force. While it is brief, the card’s message provides at least some information about the Highlanders’ life at Quebec:

“E Company,
79th Cameron Highlanders
Valcartier Camp, Quebec

Sunday

Having a good time down here up at 5:30 in morning. Drill all day. Getting quite thin. Remember me to Overseas bunch if you see them on Tuesday. R.M.”

As the sender is identified by initials (“R. M.”) only, the only significant clue is the recipient, J[ohn] France Hughes of the Great-West Life Assurance Co. of Winnipeg, who turns out to have been an actuary with Great-West. Hughes was born in England around 1885, had emigrated around the turn of the century, and by the time of the postcard was married and living at 609 Spence Street, a house that still stands at (what is now) the corner of Cumberland Avenue. The “Overseas bunch” sounds as though it might have been an informal weekly gathering of British immigrants — as R. M. probably was (although, given his regimental affiliation, he may have been a Scot rather than an Englishman like Hughes). From the handwriting and the fact that his social circles included a well-paid insurance professional, one might also conclude that R. M. was likely well educated.

In any event, this is a good example of what we can learn from postcard messages about the very earliest days of the Great War.

Canadian soldiers in other countries’ cards

Canadian First World War collections often include postcards from other countries that depict the Canadian war effort. One scarce example is this collotype showing the 48th Highlanders — cousins of Winnipeg’s 79th — as they leave “Torento (Canada)”. One supposes this scene to be somewhere in the vicinity of Union Station, with the departing men parading in the pouring rain. Produced by Le Deley, imprimeur et éditeur (printer and publisher) at 127, boul. Sébastopol in Paris, this particular example was not used.

A rainy day in Torento.
“And very good reason to be” … indeed!

Our final example is a British card celebrating “Canada’s Men”, poetically, as “the Bravest Men — we’ve seen of late / That have crossed the Atlantic Sea”. The quality of some of the verse suggests that the poet may have been working to deadline, but overall the expression of Britain’s appreciation comes through clearly enough and, I’m sure, was much appreciated by its recipients. The card — the British publisher of which is not identified — was posted within the U.K. on 26 December 1916.

Future posts

We’ll try to post some other World War I postcards over the next few weeks, as the hundredth anniversary nears. 

Andrew Cunningham

PHILATELY AND DELTIOLOGY: WHAT DIVIDES US? (THOUGHTS FROM 1903)

Poking around the Internet on a summer’s evening, I came upon a brief book review of All About Post-cards, one of the first postcard guides, published by Walter Scott in Leeds (England) in 1903. Appearing in The London Philatelist 12:140 (August 1903), the anonymous reviewer is of the view that the study of government-issued postcards (of the traditional picture-less type) does constitute a branch of philately. In stark contrast, the collection of privately-produced picture postcards is something else — and, whatever it may be it is not worthy of discussion in the august journal of the Philatelic Society, London!

So there is an early attempt to define the place where philately ends and where the realm of what was then known as “cartophily” (and later as “deltiology”) begins. The key, in the reviewer’s mind, seems to be the “official” nature of both stamps and government-issued postal cards.

As for the book, which sounds pretty interesting, it seems to have gone the way of so many of the guides and magazines that accompanied the postcard boom of the early 1900s. Other than the London Philatelist‘s book review, few traces of All About Post-cards exist online. If anyone has seen the book, we would be interested in hearing about it.

Advertisement for Walter J. Scott’s “All About Post-cards” as published in a popular postcard collectors’ magazine.

The reviewer’s rather snide opening suggestion that the book might be considered more self-promotional than scholarly relates to the fact that its author, Scott, was himself a significant publisher of picture postcards, particularly of scenes from around Yorkshire. He does not appear to have been connected with the Walter Scott who published postcards in Barrie, Ontario, around the same time.

In any event, in case it is of interest to anyone with a foot in both camps (stamps and cards), here is the full review as published by the London Philatelist exactly 115 years ago:

ALL ABOUT POST-CARDS. By J. W. [sic] Scott. Scott and Wilson, 4, Reginald Mount, Leeds.

‘“THERE is nothing like leather,” cried the shoemaker, and it is only natural that Mr. W. J. Scott should sing the praises of the wares that his firm so largely deal in. The book in question, containing some seventy pages devoted to the post card — official and pictorial — and thirty-four pages of the firm’s price catalogue of the same, bears out our opening quotation. None the less, this little volume will be found to afford both interest and information to those who are interested in entires, the author acknowledging his indebtedness to Mr. W. B. Warhurst, the well-known collector and worker on the subject of entires, and to Mr. E. W. Richardson, the editor of The Picture Post Card. The letterpress, divided into nearly twenty chapters, devotes about equal space to both sections of the subject, but there is an obvious leaning on the part of the author to the “fascinating hobby” of pictorial card collecting.

‘This is not an “interesting branch of Philately,” as are termed the regular post cards, and does not call for any comment in our columns. Of its amazing popularity we have had abundant evidence as previously recorded in our pages, and we see no reason why such charming and artistic mementoes, produced at a price that places them within the reach of all, should not have an abiding and brilliant future. As regards officially issued post cards, we should be only too glad if this branch of Philately could be reinvigorated and sustained; it has the merits of straightforwardness in issue, limits in numbers, and relatively small cost, and we should rejoice to see its adherents increased; their bulk is against them, but they are far more easily susceptible of arrangement than are envelopes, and they embrace far less stationery. They have probably been crowded off the philatelic stage by the ever-increasing quantity of new issues of all sorts, and it is to be hoped that by the aid of such excellent advocacy as that of Mr. Scott and others their popularity may be restored.’

(Andrew Cunningham, TPC #1424)

ALL IN A POSTCARD: COBALT AND THE ORIGINS OF MINING FINANCE IN CANADA

It is well known that postcards are windows into the social life of the early 20th century, but it’s easy to neglect what they have to tell us about the worlds of commerce, finance and industry. Canada’s mining business, which was developing into its modern form around the turn of the last century, is an example — hopefully the first of several to be featured on our blog.

While everyone knows about the Klondike gold rush of 1898, it is less often remembered that an equally serendipitous discovery in 1903 quickly transformed a remote corner of northeastern Ontario into the world’s largest silver producing region. By 1908, thousands of hopeful “miners” had poured into the suddenly world-famous town of Cobalt, a few miles west of Lake Timiskaming. That Cobalt’s silver boom coincided almost exactly with the worldwide postcard craze means that there is an almost endless supply of postcard views for collectors of ephemera from this fascinating period in Canada’s history. Many of them have messages from miners, visitors and assorted hangers-on that recount personal experiences of boomtown life.

Copp, Clark postcard of Cobalt, Ontario

Figure 1. Cobalt’s Wall Street, c. 1908 (Copp, Clark).

A whole network of commercial infrastructure quickly arose in the Cobalt district, supporting not only 10,000 newly-arrived residents but the mining industry itself. The postcard in Figure 1 nicely captures the commercial aspects of this moment in time. Entitled A view of Cobalt’s Wall Street, where frenzied finance plays in mining stocks, the Copp, Clark Ltd. collotype image shows almost every aspect of the mining finance business in action:

  • The building at the left houses the stock market: Cobalt Open Call Mining Exchange.
  • The building at centre is the equivalent of today’s downtown skyscraper, housing professional services firms: the assayer, the law offices of Browning & Boultbee (“Cobalt – Toronto – North Bay”) and two other law firms. 
  • To the right are the financial services offered by the Imperial Bank of Canada (one of many banks in town).
  • In the rear, at right, is the Queen’s Restaurant, where business deals could undoubtedly be made in quiet comfort (if one had time; otherwise it was the Quick Lunch cart in the foreground — the “food court” of its day).

The reality of the whole situation, for many people, is suggested by the sender’s inscription across the face of the card: “This is where I didn’t go broke”. It was undoubtedly very easy to do so if you weren’t careful. On the reverse, “Jack” engages in a bit of eye-rolling as regards a companion who was apparently a bit more “into it” than he was: “Byron is out speculating in the rain this morning on a broncho”.

Of course, with modern communications, the majority of the mining finance activity that this “Wall Street” card represents would today be performed in Toronto rather than locally. But, at least in microcosm, the various functions of Bay Street (or Wall Street) are encapsulated in this image.

Also shown below, as Figure 2, is a bifold (double) postcard by Warwick Bros. & Rutter of Toronto (no. 4942), posted October 8, 1908, not long before the 1909 fire that destroyed much of the town (click to enlarge).

(Andrew Cunningham, TPC #1424)

Bifold postcard of Cobalt, Ontario

Figure 2. Cobalt, Ontario, c. 1908 (Warwick Bros. & Rutter).

 

 

 

POSTCARDS FEATURED AT CHARLOTTETOWN GALLERY EXHIBITION

The postcard photographs of William S. Louson are the subject of a new exhibit at the Confederation Centre Art Gallery in Charlottetown. Louson was the leading amateur photographer of Prince Edward Island in the pre- WWI period and is one of the few identified postcard photographers in the country. The exhibition, curated by Harry Holman (TPC#1534), features the photographic images produced by Louson and includes images from his original negatives, copies of views which were carried in a range of local and national magazines, and a large collection of postcards, most of which were published by the Toronto firm of Warwick Bros. & Rutter. The exhibition also includes Louson photos which were used by other publishers without credit to Louson.
 

Sydmount Avenue, Charlottetown, P.E.I. (William S. Louson)

 According to Holman “Louson is without doubt the most important and interesting photographer in the history of early P.E.I. postcards. His black and white images were given a new dimension by being produced with colours supplied by the postcard publishers and served to make Louson’s view of the province as a gentle rural landscape, the dominant perception of the Island in the pre-war period.”
 
The exhibition continues at the Gallery until April 21, 2018.

SPOT THE DIFFERENCE: A VALENTINE & SONS POSTCARD MYSTERY

I’ll be the first to admit that this one is probably just for the geekiest of deltiologists. It has to do with a duplicate Valentine & Sons card in my collection — number 102,198, entitled “G.T.R. Double Track through the Garden of Canada” in one example, while the second version spells out the name of the railway in full, as “Grand Trunk Railway”. Valentine & Sons captions often changed between printings of the same card, so the name variation isn’t especially interesting. To see what was interesting, let’s have a look at the cards:

Spot the Differences.

The back types are identical. “Grand Trunk Railway” appears (on the basis of a pretty murky postmark) to have been posted on 19 February 1907, while “G.T.R.” was posted on 3 May 1908. But that’s neither here nor there. The odd thing is that the cards are different in a second way that is harder to spot at first. It’s the images: they are identical EXCEPT for the sky. The clouds on version 1 are completely different from the clouds on version 2! Of course, the skies on these early lithographs were entirely fake to begin with, because they usually reproduced as completely blank areas, necessitating the subterfuge of “hand colouring” in which clouds were added to the artist’s taste. But that doesn’t explain why the skies would be different between two printings, when everything else in the image, including all the rest of the applied colouring, is identical.

Or does it? Is there a reason that the sky would have been coloured separately on the occasions of each printing?

In case you can’t make out the differences, here is another version with added contrast (click to enlarge):

Any thoughts? Anyone have similar examples of Valentine & Sons cards — or cards by anyone, really — that are the same except for the sky (setting aside variations in the caption)?

— Andrew Cunningham

FIRESIDE READING – CARD TALK’S WINTER EDITION

Our annual Seasonal Party at the Imperial Buffet this past week was a great success. In addition to delicious food, the TPC served up the latest edition of Card Talk to all attendees, thus saving some postage costs. Retrieved from the printers only hours earlier, the Winter edition of our flagship (well … only) publication contains its usual 24 pages of deltiological news and analysis.

Following up on an article in the Fall edition, TPC member Lorne Smith contributed additional information on the use of Esperanto in postcards, including an account of his visit to the Esperanto Museum in Vienna. Among the postcards in Lorne’s collection is one of Prague’s Old Town Bridge Tower (Figure 1), with a message in esperanto and an Esperanto sticker on the front. The postcard’s caption has also been translated by the sender. 

Figure 1. “Malnova Ponta Turo”, according to the sender.

We had a response to our call for early Canadian RPPCs (real photo post cards) — “early” being 1904 or prior. Member Rick Parama submitted a photo card of a cow and calf from Bowden, Alberta, N.W.T. (as it then was) from the summer of 1904. Generally speaking, RPPC production in Canada seems to have gone from almost nil in the spring of 1904 to a significant trickle in the later months of 1904. By mid-1905, it was a veritable torrent that did not die down for several years thereafter. Real photo cards from 1904 and earlier are rare in Canada and we continue to solicit members and the general public for examples to illustrate the early days of this important photographic genre.

Another of our members, Joe Rozdzilski, contributed some examples from his collection of west-end Toronto postcards, focusing on the life and times of Sunnyside Beach and its amusement park and bathing pavilion, the latter of which could accommodate 2,000 swimmers and was, on opening in 1922 (Figure 2), the largest heated outdoor pool in the British Empire. The amusement park was a wonderland of food and attractions that are brought vividly to life in Joe’s story.

Figure 2. Sunnyside Beach Bathing Pavilion on Opening Day.

In 2016, we discussed the postcard photographer Lewis Rice, who worked first in his native Nova Scotia but more famously, after around 1907, in Saskatchewan, where he carried on business in the boom town of Moose Jaw. In this issue of Card Talk, the TPC’s Barb Henderson and Vancouver Postcard Club’s Gray Scrimgeour recount the events of June 1, 1912, which was declared to be “Postcard Day” in Moose Jaw. This was a Board of Trade effort to promote the new city by having its citizens send out Lewis Rice postcards with pre-printed boasts on the back. Through years of diligent searching, and with the help of fellow collector Don Kaye, Gray has found cards bearing nine different slogans, such as:

  • FIFTY THOUSAND more CITIZENS WANTED who are law abiding and can stand prosperity for it’s sure to get you if you come to MOOSE JAW. 
  • Some towns are afraid to see new people come in, fearing that there will not be enough for all. That’s not Moose Jaw.
  • Welcome Nobles [i.e. the Duke of Connaught and his family] to Moose Jaw — the Minneapolis of Canada.

This edition’s cover story shows some of the many ways in which postcards take us inside Canadian buildings of the early 20th century. From the old Centre Block of Parliament  (Figure 3) to the elegant Vice-Royal Suite of Winnipeg’s Royal Alexandra Hotel (Figure 4) to the interior of the ill-fated Great Lakes passenger vessel Noronic (Figure 5), postcards offer views of interiors that are invaluable to our understanding of the history of everyday life as experienced in ordinary houses, grocery stores, hotels, restaurants and factories.

Figure 3. Entrance to Houses of Parliament, Ottawa

Figure 4. Empire Room, Vice-Royal Suite, Royal Alexandra Hotel, Winnipeg

Figure 5. The Noronic

An item of special interest in this issue is a checklist of Halifax Explosion postcards, compiled by our member Terry Robbins and included in Card Talk in commemoration of the 100th anniversary of that tragic event — the most devastating man-made explosion in history prior to the atom bomb. Lithographic cards by Cox Bros., H. H. Marshall and Novelty Manufacturing & Art Co. are included in the listing. In addition, Barb Henderson has contributed articles on an amazing postcard relating to the aviation pioneer Glenn Curtiss and on pyrography, the art by which leather postcards — including the example shown in Figure 6 — were created.

Figure 6. An attractive leather postcard

In addition, there are the usual features: a message from our President, reminiscences about Card Talks past (1982 this time), advertisements from our advertisers, our TPC meeting schedule and the round-up of upcoming postcard sales and shows. If you’re not already a member of the TPC, join our coast-to-coast (and U.S. and overseas!) membership and receive the whole Card Talk story three times annually, attend our informative (yet fun!) meetings and get special deals on our show admission and our exclusive members-only auctions.

(Andrew Cunningham, editor)

 

Card Talk, Winter 2017-18.

 

CARD TALK CELEBRATES “CANADA 150”

Corner King & Yonge Sts., Toronto, Canada (Nerlich & Co.)

Harbor, Toronto, Canada (Nerlich & Co.)

The Fall 2017 edition of the TPC magazine Card Talk is now out: our members should be receiving their copies in the next day or two. Because July 1st represented the 150th anniversary of Confederation (“Canada 150”), the issue has several articles of a “patriotic” nature, beginning with some reflections by veteran member Joe Rozdzilski on what Canada means to him as a son of immigrants who came to Toronto in the 1930s. Joe provided us with some illustrations, including a couple of lovely patriotic cards from Nerlich & Co. This design, which is embossed and beautifully printed, must surely be the single most elegant of the large and common series of lithographed Canadian cards published by the major manufacturers after the turn of the century. These Nerlich cards recall familiar Toronto scenes of the early 20th century — the corner of King and Yonge streets downtown and the busy (and very industrial) harbour. 

Shields and Arms

The provincial shields on these cards are of some interest. Nova Scotia’s, at the extreme right, isn’t the familiar blue cross of St. Andrew on a white background, but the province’s older design centered – understandably enough – on a fish (salmon?). Also, because they are post-1905 (likely not by much), the cards show Alberta and Saskatchewan as provinces, but at this point Alberta was still using the shield of its predecessor – the North West Territory – which featured a polar bear (rare in Alberta!) over four sheaves of wheat. Saskatchewan was apparently more on the ball, as it had already come up with its own exclusive design, featuring a more modest three sheaves of wheat. 

Curiously, the coat of arms depicted at lower left is not that of Canada but rather the United Kingdom’s coat of arms (which was of course that of King Edward VII, who was also King of Canada – so not at all inappropriate). 

Granary of the World

Also (partly) on a Canada-Britain theme, Barb Henderson has contributed an article on postcards with the theme “Granary of the World”, “Britain’s Granary” or the “Granary of the Empire” … that sort of thing. Among these are several of the ceremonial arch that the Dominion government erected in London in 1902 at the time of Edward VII’s coronation. There is also a fine example (see below) from the well-known series of twelve postcards issued (seemingly) by the federal government around 1906 to encourage immigration from the U.S. The illustrations on these cards originally appeared in a pamphlet published in 1903 by the Interior ministry of Sir Clifford Sifton.

The Granary of the World. (Government of Canada, c. 1906)

Repatriation of Lost Treasures

In another article, long-time member Bob Atkinson writes of his latest travels to postcard shows far and wide. This time his journeys took him to Vancouver and Nottingham, where he met organizer Brian Lund, for many years publisher (with his wife Mary) of the British periodical Picture Postcard Monthly and still at work on the Picture Postcard Annual. As usual, Bob was on the lookout for hidden Canadian treasures and (having forewarned dealers to his visit) came back with quite a handful. Below is a photo of Bob (at right) with his English cousin Malcolm Henderson and Mr. Lund in the middle. 

Malcolm Henderson, Brian Lund and Bob Atkinson at the Nottingham (U.K.) show. (courtesy R. Atkinson)

 Theatre Cards from New York City

In not-specifically-Canadian news, we have accounts of some of our club talks, including Kyle Jolliffe’s “Broadway Ballyhoo”, an examination of New York City theatre postcards from 1900 to 1916. Kyle’s many postcards include the example below from the Korean comic opera “The Sho-Gun”. Many of the cards were produced by the Rotograph Co. as publicity for upcoming shows. Kyle, who focuses on New York postcards, also highlighted rarely-seen sets of Canadian cards by Warwick Bros. & Rutter – the “Celebrated Actor” series, which featured 36 or 37 cards – and by W. G. MacFarlane, who used Rotograph images in another hard-to-find series of cards.

Scene from “The Sho-Gun”, with photo by Joseph Byron (1846-1926) of New York City. (courtesy K. Jolliffe)

And Much More…

Other articles recount a talk by Ralph Beaumont – author of Heckman’s Canadian Pacific, an outstanding volume of early 20th century railway images not no Canadian history buff (or railway buff) should be without – and our own Mike Smith’s talk on his (and Larry Mohring’s) equally fascinating volume on the Canadian photographer Reuben Sallows, whose photographs were used on hundreds of Canadian postcards illustrating “scenes from ordinary life” in the young country of 1900-1910, in addition to numerous covers of the Canadian magazine Rod & Gun and illustrations in many U.S. periodicals of the day as well. Mike’s book may be ordered here

John Sayers contributed articles on the ongoing TPC auction and the Canadian National Exhibition, while Andrew Cunningham added an article about the use of Esperanto in postcards and postcard exchanges. 

 Join Us!

As always, we conclude by noting that Card Talk is not available on newsstands – it’s only to be had by joining our Club (or, I suppose, by craftily befriending someone who already is … but in that case why not join anyway and stop being such a mooch?!) Sign-up details are available here. We hope everyone had a happy “Canada 150”!

(By Andrew Cunningham)

L. B. FOOTE’S POSTCARDS

By Andrew Cunningham

Approaching early twentieth century photography from the (oblique) angle of postcards can sometimes twist the established hierarchy of photographers out of its usual shape. Many of the top photographers of the era did not sell much (or any) of their work in the form of postcards — while, conversely, the leading lights of postcard photography are often barely acknowledged outside postcard-collecting circles. So it was in the city of Winnipeg, where the iconic public photographer of the first half of the 20th century, Lewis B. Foote (1873-1957), would definitely be quite far down on anyone’s list of memorable postcard photographers. Indeed, the books that have been written on Foote’s work — including the most recent, Imagining Winnipeg (University of Manitoba Press, 2012) — mention Foote’s postcards only in passing, if at all. 

As a Manitoba-focused collector, I have nonetheless discovered Foote postcards here and there, every so often, unexpectedly and always with great excitement. For perspective, there might be two or three Foote postcards for every hundred published by his equally talented Winnipeg contemporary Maurice Lyall (1887-1966), who is unknown except to a few postcard collectors and about whom no books have been published. This blog post looks at some of the Foote cards in my collection — a bit of a ragtag and random set, with the important exception of the 1919 General Strike examples.

Lewis Foote

By way of biography, L. B. Foote was a native of Foote’s Cove, a tiny outport on an island off the Burin Peninsula of Newfoundland. The standard biographical story is that he discovered a talent for photography in the 1890s, whilst on the staff of the Summerside (P.E.I.) Journal. By 1902, Foote had established himself in Winnipeg, where he was one of the busiest and best-known local photographers for nearly half a century. As noted above, he died in 1957.

Pre-Strike Postcards

Most of Foote’s postcards are real photos (RPPCs). One exception, shown in Figure 1 below, is a promotional card (one of several, I am sure) that depicts the Winnitoba. The Winnitoba was the grandest excursion vessel on the Red River between its launching in 1909 (which is possibly when this card would have been produced) and its demise in a fire at the docks of its owner, the Hyland Navigation Co., in the autumn of 1912. Its sister ship, the Bonnitoba, which one sees much less frequently in postcards, is said to have been crushed by the river ice the following season. Hyland Park, the company-owned destination of the ships, still exists as a small public park just off Henderson Highway a little to the north of Winnipeg.

Figure 1. Forward Saloon on Hurricane Deck (Lewis B. Foote photo, published by the Hyland Navigation Co., Winnipeg, c. 1909)

While undated, Figure 2 most likely also comes from the earliest stage of Foote’s career in Winnipeg. This rather curious image of an anonymous farm family posing in the midst of a row of tall cornstalks hints at some of the whimsicality that characterized Foote’s photography throughout his career. The farmer’s fist is raised in what one imagines to have been mock triumph. Why? Was the corn perhaps the product of a good deal more effort than it was worth? Was it the farm’s first success after a string of failures? Who can say — other than that the photo illustrates, in a small way, how Foote’s images, even when they were of conventional or hackneyed subjects, often departed in small details from what convention dictated.

 

Figure 2. Unknown Farm Family (Lewis B. Foote, no. 4300, n.d.)

 

 

 

 

 

Figure 3, a rather poorly focused but nonetheless interesting image of the 1913 Labour Day parade in the town of Stonewall, Man., is an early example of Foote as recorder of labour history, an interest which (as we will see below) would just a few years later generate perhaps his greatest legacy. The sender of the Stonewall card notes the “New Town Hall” — the building built from the limestone that gave the quarrying town its name. At left, townsfolk in search of the best view stand behind a rooftop sign for “C. M. Brown – Hardware, Tinware and Stoves”.

Figure 3. Stonewall Labor Day 1913 (Lewis B. Foote, 1913)

Continuing with the theme of labour, Figure 4 shows the early stages of construction of a building near St. Mary’s Academy, the Roman Catholic girls’  school that is visible in the background. It has been suggested that the building under construction might be the H. W. Hutchinson House, 603 Wellington Crescent, now First Unitarian Universalist Church. As construction on the Hutchinson House apparently began in 1912, that thesis fits with what would superficially appear to be the age of the image on the postcard. But, having said that, many other large houses in this elegant neighbourhood would also have been under construction at roughly the same time.

Figure 4. Construction in Crescentwood (Lewis B. Foote, no. 4482, n.d.)

In Figure 5, we have a personal postcard of two soldiers — to all appearances not young men so perhaps veterans of the Boer War or another earlier conflict. The studio blindstamp, “Foote & James”, provides a clue to the date, as Foote entered into his long-lasting partnership with George James only in 1914. So perhaps these men, despite being a little older than average, were on their way to the First World War. Their uniforms appear to this highly untrained eye to be rather distinctive — perhaps someone familiar with military uniforms of the period will be able to tell us more.

Figure 5. Two Soldiers (Foote & James studio, after 1913)

 

General Strike Postcards

Finally, just as the soldiers were returning from the War — and definitely not unconnected with that fact — Winnipeg began to experience labour unrest. In the spring of 1919, that unrest blew up into a full-scale and at times violent General Strike. The General Strike is still arguably the most significant event in the history of Canadian labour, making headlines around the world (including the New York Times‘ famous “Bolshevism Invades Canada”) and shaped Winnipeg’s local politics for at least half a century. Foote produced photographs throughout the Strike, which lasted for a full month until called off on June 25, 1919, but the surviving photo postcards that I have seen seem to date exclusively from just two dates: June 10th and June 21st. The images below are all from the more commonly-found of the two, the 10th.

Figure 6 is one of the clearest and most interesting photo postcards of the strike, showing a large crowd at Portage & Main, with Portage Avenue East at right (in front of what is now the site of the Richardson Building). In Figure 7, a clipping from the evening edition of the Winnipeg Tribune, we learn that this melee took place at two in the afternoon — even the plight of the delivery vans that we see trapped in the crowd (including one belonging to Ringer’s, long a prominent pharmacy in the city) is noted! The timing is confirmed by Figure 8, which shows the mounted policemen in front of the McArthur Building (later the Childs Building) on the northwest corner, with a Dingwall’s Jewellers clock obligingly revealing the time to be 2:41 p.m. Between the two images, the photographer’s vantage point has shifted from an elevated position on the southwest corner to street level on Portage Avenue. If the activities in Figures 7 and 8 appear to be at least under a modicum of control, the final image (Figure 9) — taken from an elevated position above the crowd in Figure 8 — provides dramatic proof that “charge” really did mean “charge”.

Figure 6. Winnipeg Riots, June 10/19 (Lewis B. Foote, 1919)

Figure 7. “Mounted Policemen Charge Huge Crowd”, Winnipeg Tribune, p. 1 (June 10, 1919) CLICK TO ENLARGE

Why so rare?

Few of the Foote postcards in my collection — and none of the General Strike postcards — were postally used or written on in any way, indicating that they were probably purchased for personal albums (and as souvenirs, in the case of the strike cards). This fact may also suggest that Foote was not sufficiently invested in the postcard market to have created the necessary distribution channels for his “product” — relationships with shops, druggists and others would generally have been needed to get one’s photocards in front of the buying public. Even though more and more of the cards turn up with time, indicating that there must have been a fair number of them, I have not yet seen any single example — other than the General Strike cards and the Hyland Navigation Co. lithographs — on sale more than once. This might indicate that they were usually produced in small quantities, perhaps only at the request of individual customers for whom Foote had produced larger images. Any other examples in the collections of our members or visitors — particularly of subjects other than the General Strike — would definitely be of interest.

The only L. B. Foote postcard in the Peel Prairie Provinces collection, a group shot of the Salvation Army Citadel Silver Band, quite possibly c. 1910 as noted, may be seen here.

 

Figure 8. Winnipeg Riots, June 10/19 (Lewis B. Foote, 1919) Mounted policemen inspect onlookers outside the McArthur and Nanton Buildings.

 

Figure 9. Winnipeg Riots (Special “Mounties”) June 10/19 (Lewis B. Foote, 1919).

 

CAUGHT IN THE ACT?

By Andrew Cunningham

Collectors often speculate about the re-use of images in postcards — whether this was done with permission or not, or with due attention to the copyright of the photographer or original publisher. In the advertisement below, which appeared in a Canadian trade publication in 1907, the Barnes-Crosby Co. of Chicago offered, among other things, to make postcards from “other post cards”! That is rather bold and may not have endeared it to others in the industry.

Interestingly, while the company claimed to be the “largest concern of the kind in the world”, it doesn’t appear to have left much of a legacy. A recent search of “Barnes-Crosby” on eBay turned up only two postcards, both publisher’s samples! Nor is the company included in the publisher index of the Metropolitan Postcard Club of New York.

Any other thoughts or information on this issue would be appreciated!

Barnes-Crosby Co. postcard advertisement

Barnes-Crosby Co. advertisement published in Canadian Druggist, 1907.

AN UPDATE ON “GOVERNMENT AGENT” POSTCARDS

By Andrew Cunningham

In a post from July 2016 concerning “Government Agent” cards, I had noted that, thanks to the efforts of TPC members Wayne Curtis and Philip Francis, we knew of a total of 35 Government Agent postcards. To back up a bit, “Government Agent” cards are the western settlement promotional postcards, aimed primarily at English farmers, that sported the distinctive back design depicted below. In that July post, I referred to a short note in the Winnipeg Tribune for July 24, 1905 (also below) that was quite clearly referring to the publication of the postcards. The Tribune happened to describe the images on four of the cards, three of which are on Wayne and Philip’s lists, but the fourth of which — a Calgary bird’s-eye view — didn’t seem to be.

Well, in researching the publisher history of the Calgary-based H. Enida Olive Co., what should turn up among the images I found but a card (not by H. Enida Olive) entitled A Great Cattle Market, Calgary, Alberta, Canada, Centre of Ranching Industry, number 6058 in the Images section of the University of Alberta’s Peel Prairie Provinces Collection. That is clearly the card in question. However, rather than being a new, 36th card, it turns out to be one from Wayne and Philip’s list. The title of the card, which I hadn’t seen until now, just didn’t suggest that the view was a bird’s eye. So we’re still stuck at 35 cards!

Here’s a look at this very rare Calgary view … 

A Great Cattle Market and a Great Postcard (PEEL COLLECTION, U OF ALBERTA)