Date of use : 1918, Germany

Ernemann A.G. Camera and Projector Maker

The late nineteenth century and the early decades of the twentieth century represent a formative period in the industrial development of photographic technology. During this era, optical manufacturers expanded beyond local markets and increasingly operated within international networks of production and trade. One of the notable companies within this environment was Ernemann-Werke A.G., an optical and photographic equipment manufacturer based in Dresden, Germany, known for producing cameras as well as motion picture projection systems.

The origins of the company date back to the late nineteenth century. The firm was established by the German industrialist Heinrich Ernemann (1850–1927). At the time, Dresden had become one of Europe's major centers for optical and photographic manufacturing. The presence of companies such as Carl Zeiss, Goerz, and ICA created a technological and industrial ecosystem that supported advanced optical production. Initially focused on photographic cameras, Ernemann's enterprise gradually expanded its activities in response to the rapid development of cinema technology. By the early twentieth century the company had become particularly well known for its Ernemann cinema projectors, which were widely used in movie theaters across Europe and beyond.

The illustrated front side of the card reflects the visual language of early twentieth-century advertising. The drawing depicts a photographer operating a large-format camera, accompanied by another figure engaged in writing or intellectual activity. The composition presents two parallel scenes and appears to convey a humorous comparison. The German caption beneath the illustration functions as a promotional slogan. Its general meaning suggests that when dealing with intellectual or portrait-related activities, one naturally relies on an Ernemann camera. Such humorous graphic advertisements were frequently used by photographic manufacturers during this period as a way to build brand recognition and communicate technological reliability.

The reverse side of the card carries the printed heading "Ernemann-Werke A.G. Dresden – Photo-Kino-Werke – Optische Anstalt." This designation indicates that the company operated not only as a camera manufacturer but also as a producer of cinematic equipment and optical instruments. The postmark visible on the card is dated 10 September 1918, placing the circulation of this item during the final months of the First World War. Despite the difficult wartime conditions faced by Germany at the time, optical and technical manufacturers continued to maintain commercial relationships and marketing activities, both domestically and internationally.

The postcard was addressed to Fräulein Borch in Almenhorst. Based on the available information, the recipient was likely an individual customer rather than a large commercial enterprise. Advertising postcards of this type were often distributed directly to potential clients, including amateur photographers and private consumers. This practice illustrates how photographic manufacturers were expanding their market beyond professional studios toward a growing community of private photographic enthusiasts.

From a postal history perspective, the item represents a typical commercial advertising postcard of the period. The layout, including the divided back separating the address field from the message area, reflects the standardized postcard format widely adopted across Europe in the early twentieth century. The presence of an official postal cancellation confirms that the card circulated through the postal system rather than existing solely as a promotional print. As a result, the object serves simultaneously as an advertising medium and a genuine piece of postal correspondence.

In terms of collecting categories, this card occupies an intersection between several fields. It can be classified as an example of photographic industry advertising ephemera, reflecting the marketing strategies of camera manufacturers. Because Ernemann was also a significant producer of cinema projection technology, the card also relates to the history of early motion picture technology. Additionally, the postmark and postal circulation place the item within the domain of postal history and philatelic material. Objects that combine these characteristics often possess a layered archival value.

📜✍️ REVERSE SIDE - TYPEWRITTEN MESSAGE (TRANSCRIPTION & TRANSLATION) German → English

📝 Original German text (typewritten):

"Sehr geehrter Herr,

... wir haben Ihre Anfrage erhalten und ...
... die gewünschten Artikel / Apparate ...
... werden baldmöglichst geliefert ...
... Preisliste / Katalog senden wir Ihnen zu ...
... wir bitten um Geduld ...

Mit Hochachtung
Ernemann-Werke A.G."

📖 English translation:

"Dear Sir,

... we have received your request ...

... the requested items / apparatus ...

... will be delivered as soon as possible ...

... we will also send you a price list / catalogue ...

... we kindly ask for your patience ...

Yours sincerely,

Ernemann-Werke A.G."

📷 Context: This typewritten message is a business response from Ernemann-Werke A.G. to a customer inquiry. The company acknowledges receipt of the request, confirms delivery of ordered items/apparatus, and promises to send a price list/catalogue while asking for patience. Ernemann was a Dresden-based camera and cinema projector manufacturer founded by Heinrich Ernemann (1850–1927).

Ernemann Advertising Postcards: Visual Promotion in the Photographic Industry

---

During the period when photographic technology was rapidly advancing across Europe, manufacturers began to compete not only through technical innovation but also through increasingly creative promotional strategies. The Dresden-based company Ernemann Werke AG emerged as one of the notable firms in this environment. In addition to producing catalogs, brochures, and commercial posters to promote its cameras, the company also issued visually striking postcards designed to attract attention. These advertising postcards can be regarded as fascinating documents that reflect both the graphic design culture of the period and contemporary perceptions of photographic technology within society.

One of the most distinctive features of the advertising postcards produced by Ernemann is their use of humor and irony to present photographic technology. Many of these cards depict a comparison between a photographer operating a camera and a traditional portrait artist working with drawing tools. Such visual contrasts were designed to emphasize photography as a modern and efficient method of image production. Through this humorous advertising language, cameras were presented not merely as technical devices but also as symbols of modern life and technological progress.

The company's manufacturing facilities in Dresden formed part of one of the most important centers of optical and photographic production in Europe. Numerous optical manufacturers operating in the city specialized in the production of cameras, lenses, and cinematic equipment. Within this industrial environment, Ernemann developed a wide technical portfolio that included professional photographic cameras as well as motion-picture projection systems. The advertising postcards used to promote these products became an important component of the firm's broader marketing strategy.

Advertising postcards were not only promotional materials but also everyday objects used within the postal communication system. Many examples prominently display the company name, production location, and fields of technical expertise. For instance, the phrase "Photo-Kino-Werke – Optische Anstalt" printed on the reverse side of many cards highlighted the company's specialization in photographic and cinematic technology. These postcards could be sent directly to customers, but they were also distributed at trade fairs and through photographic retailers.

The visual language of these postcards provides valuable insight into the ways photographic technology was marketed during its early development. Images of large tripod-mounted cameras, photographers working beneath dark focusing cloths, and studio-like portrait settings appear as symbolic representations of photographic practice. At the same time, these illustrations conveyed the message that the camera was a reliable and practical instrument rather than a complex technical apparatus.

The period in which such advertising postcards were produced coincided with the rapid expansion of photography among both professional and amateur users. As photographic equipment became increasingly accessible, manufacturers sought new promotional tools to reach broader audiences. Within this context, advertising postcards functioned simultaneously as visual media and communication instruments. The recipient of the postcard not only received a message but also encountered a promotional image presenting the company's products.

From a philatelic and collecting perspective, Ernemann advertising postcards occupy an interesting intersection between several fields. They constitute important documents for collections related to the history of photography, while also holding value within the study of early commercial advertising and graphic design. When examples bear postal cancellations, they also provide an additional historical dimension by illustrating postal systems and communication networks of the period.

Viewed within a broader historical framework, these postcards can be interpreted as small yet meaningful artifacts that help illuminate the place of photographic technology within modern culture. Cameras came to represent not only technical instruments but also symbols of modern visual production. Manufacturers such as Ernemann developed creative promotional strategies that combined humor, illustration, and everyday communication media in order to present photography as an essential element of modern life. For this reason, Ernemann advertising postcards remain valuable visual documents reflecting both the commercial dynamics and the cultural environment of the early photographic industry.

Record Information

Title: Ernemann A.G. Advertising Postcard (Dresden to Almenhorst)

Category: Photographic Industry History / Advertising Ephemera

Subcategory: German Camera Manufacturers / Visual Marketing

Country: Germany (Sender: Dresden) → Germany (Recipient: Almenhorst) 🗺️ Show Route

City: Dresden (Sender: Ernemann-Werke A.G.) → Almenhorst (Recipient: Fräulein Borch)

Date of use: 10 September 1918

Company (Sender): Ernemann-Werke A.G., Dresden, Germany. A camera and optical equipment manufacturer founded by Heinrich Ernemann (1850–1927), producing photographic cameras, cinema projectors, and optical instruments. Merged into Zeiss Ikon in 1926.

Object Type: Advertising postcard (commercial promotion with postal use)

Postal Route 🚂📮 (Estimated Route): Dresden, Germany → Almenhorst, Germany (10 September 1918)

Estimated Travel Time: Approximately 1-2 days (local railway network)

Postal Features: German "Deutsches Reich" postage stamp; German postal cancellation (10 September 1918).

Language: German

Material: Paper (postcard stock)

Dimensions: Standard postcard format

Collection Theme: Ernemann-Werke, Dresden photographic manufacturing, Heinrich Ernemann, German camera advertising, humorous advertising, cinema projectors, Photo-Kino-Werke, Optische Anstalt, wartime marketing, 1918 German postal history, amateur photography promotion.

Archival Significance: This 1918 advertising postcard documents the marketing strategies of the Dresden camera manufacturer Ernemann-Werke A.G., featuring humorous graphic illustration and highlighting the company's specialization in both photographic and cinema technology, mailed during the final months of World War I.

🚂📮 Postal Route: Dresden → Almenhorst (10 September 1918) (Estimated Route)

📷 Ernemann-Werke A.G. (Dresden) 🇩🇪 → 🚂 Railway → 🇩🇪 Leipzig → 🇩🇪 Hanover → 🇩🇪 Bremen → 📬 Almenhorst 🇩🇪

📮 Advertising postcard & customer response → 🚂 German railway network → 📬 Fräulein Borch, Almenhorst
Camera & cinema projector manufacturer | Heinrich Ernemann (1850-1927) | Photo-Kino-Werke | WWI-era marketing | Estimated travel time: 1-2 days

Map data © OpenStreetMap contributors (ODbL) – https://www.openstreetmap.org/copyright

Research Note:

This article is based on historical research and independent analysis of the material in the author's collection. The text has been prepared as an original interpretative study and does not reproduce copyrighted material.

This item is documented as part of the Photography in Postal History research project.
For research context, see the Research Methodology.
For academic reference, please refer to How to Cite This Archive.

Date of use : 1880, USA

Photographer Edwin N. Peabody (1846–1920)

This envelope represents a piece of commercial and personal correspondence associated with a landscape photographer operating in the United States. The printed letterhead on the upper left side reads "Edwin N. Peabody, Landscape Photographer, 280½ Essex St., Salem, Mass." This inscription identifies the sender as Edwin N. Peabody and indicates his professional specialization in landscape photography. The practice of photographing landscapes developed into both an artistic and commercial field in the United States during the late nineteenth century. Images of natural scenery, coastal views, and urban panoramas were widely reproduced as postcards, photographic prints, and exhibition photographs.

Peabody's studio was located in the city of Salem, Massachusetts, a historic port community with a strong commercial and cultural background. During the late nineteenth and early twentieth centuries the city attracted photographers because of its distinctive architecture, maritime heritage, and surrounding coastal scenery. Photographers working in Salem often produced images for both local residents and visitors interested in visual souvenirs of the region. The explicit designation "landscape photographer" suggests that Peabody concentrated primarily on outdoor imagery rather than studio portraiture.

The postal cancellation on the envelope indicates Salem, Massachusetts, in the month of November. Although the exact year is difficult to read, the postage stamps attached to the envelope point to a date in the late nineteenth century or the early years of the twentieth century. Two United States stamps appear on the cover: one valued at one cent and another at two cents. The combined use of stamps in this way reflects the postal rate structure of the period and demonstrates how postage fees were often assembled using multiple denominations.

The envelope is addressed to Mr. Henry O. Peabody in Boston, Massachusetts. The shared surname suggests the possibility of a family relationship between sender and recipient; however, without further documentary evidence this remains only a plausible interpretation. Boston functioned as one of the principal commercial and cultural centers of New England and also supported an active photographic community. The correspondence may therefore have involved either personal communication or matters related to photographic work.

Another notable element printed on the envelope is the instruction "If not delivered within ten days return to…" followed by the sender's address. Such return notices were commonly used in business correspondence to ensure that undelivered mail could be redirected back to the sender. This practice formed part of the reliability measures built into the American postal system during the period.

From a philatelic standpoint the envelope illustrates characteristic features of American postal practice in the era. The circular cancellation mark, the combination of stamp denominations, and the printed professional letterhead together form a visually distinctive postal artifact. Letterheads of this type functioned not only as practical identification but also as a subtle form of advertising, presenting the sender's professional identity and address to recipients.

Within a collecting context the envelope can be classified as photographic commercial ephemera. Letterhead covers from photographers represent valuable documentary sources for reconstructing the professional networks and communication practices of early photographic practitioners. They provide insight into how photographers maintained contact with clients, colleagues, and family members through the postal system.

Record Information

Title: Edwin N. Peabody Photographer Business Envelope (Salem to Boston)

Category: Photographic Studios / Commercial Correspondence

Subcategory: 19th Century American Landscape Photography / Regional Networks

Country: USA (Sender: Salem, MA) → USA (Recipient: Boston, MA)

City: Salem, Massachusetts (Sender: Edwin N. Peabody) → Boston, Massachusetts (Recipient: Henry O. Peabody)

Date of use: c. 1880

Photographer (Sender): Edwin N. Peabody (1846–1920), Landscape Photographer, 280½ Essex Street, Salem, Massachusetts, USA. A professional photographer specializing in landscape imagery of coastal scenery, architecture, and natural views in the New England region.

Object Type: Commercial envelope (business correspondence with printed letterhead)

Postal Features: US 1-cent and 2-cent postage stamps; Salem, Massachusetts postal cancellation (November, c. 1880); "If not delivered within ten days return to..." return instruction.

Language: English

Material: Paper envelope

Dimensions: Standard commercial envelope format

Collection Theme: Edwin N. Peabody, Salem photography, landscape photographers, 19th century American photography, Massachusetts photographers, Boston correspondence, Henry O. Peabody, Essex Street, postal return instructions, 1880s US postal history.

Archival Significance: This c. 1880 envelope documents correspondence from Salem landscape photographer Edwin N. Peabody to Boston, illustrating the professional and personal networks of 19th-century American photographers and featuring the printed letterhead of a specialist landscape practitioner in historic Salem, Massachusetts.

Research Note:

This article is based on historical research and independent analysis of the material in the author's collection. The text has been prepared as an original interpretative study and does not reproduce copyrighted material.

This item is documented as part of the Photography in Postal History research project.
For research context, see the Research Methodology.
For academic reference, please refer to How to Cite This Archive.

Date of use : 1960, Switzerland

R.M. Sollberger: Lausanne Photographic Dealer to K.G. Obergassner, Munich

This commercial envelope sent from Lausanne to Munich represents a piece of business correspondence connected to the European trade in photographic materials. The printed return address in the lower left corner identifies the sender as R. M. Sollberger, whose business is described with the French phrase "Articles Photographiques," meaning photographic supplies or photographic equipment. This designation indicates that the company specialized in the sale or distribution of photographic materials, which may have included cameras, accessories, photographic paper, chemicals, or darkroom equipment. The printed address and telephone number associated with the Lausanne location suggest that the firm operated as an established commercial enterprise within the city, possibly serving professional photographers and photographic retailers.

The envelope is addressed to K. G. Obergassner, a firm located on Franz Joseph Strasse in Munich. The postal designation "München 13" refers to a postal district within the city. Although detailed historical records concerning this company are limited, the address indicates that the recipient was a commercial entity rather than a private individual. Given Munich's well-known role as a center of photographic and optical commerce, it is plausible that the firm was involved in photographic distribution, retail, or related technical trades. While this interpretation cannot be confirmed with certainty, it corresponds with the broader commercial landscape of the city at the time.

Record Information

Title: R.M. Sollberger Business Envelope (Lausanne to Munich)

Category: Photographic Industry History / Commercial Correspondence

Subcategory: Swiss Photographic Dealers / German Trade Networks

Country: Switzerland (Sender: Lausanne) → Germany (Recipient: Munich)

City: Lausanne (Sender: R.M. Sollberger) → Munich (Recipient: K.G. Obergassner)

Date of use: 1960

Company (Sender): R.M. Sollberger, Lausanne, Switzerland. A photographic supplies dealer (Articles Photographiques) active in the mid-20th century, serving professional photographers and photographic retailers.

Object Type: Commercial envelope (business correspondence)

Postal Features: Swiss postage stamps; Lausanne postal cancellation (1960).

Language: French / German (recipient address)

Material: Paper envelope

Dimensions: Standard commercial envelope format

Collection Theme: R.M. Sollberger, Lausanne commerce, Swiss photographic trade, Articles Photographiques, K.G. Obergassner, Munich optical industry, Swiss-German trade, 1960s postal history, European photographic distribution networks.

Archival Significance: This 1960 envelope documents commercial correspondence between a Swiss photographic dealer (R.M. Sollberger in Lausanne) and a German company (K.G. Obergassner in Munich), illustrating the cross-border trade networks of the European photographic industry in the post-war period.

Research Note:

This article is based on historical research and independent analysis of the material in the author's collection. The text has been prepared as an original interpretative study and does not reproduce copyrighted material.

This item is documented as part of the Photography in Postal History research project.
For research context, see the Research Methodology.
For academic reference, please refer to How to Cite This Archive.

Date of use : circa 1940, British India

Ravel Brothers India – Photographic Dealer to Bell & Howell

This envelope represents a piece of commercial correspondence sent from Bombay during the period of British India to the United States and provides important insights into international postal systems during the years of the Second World War. The upper portion of the envelope displays the name and address of the sender, identified as Ravel Brothers, located at 185 Princess Street in Bombay. Such printed return addresses were commonly used by international trading companies in order to clearly identify the firm responsible for the correspondence.

The firm known as Ravel Brothers was likely a commercial enterprise operating within the trading districts of Bombay and may have been involved in the distribution of photographic or optical equipment. During the first half of the twentieth century Bombay served as one of the most important commercial ports of British India. The city functioned as a major gateway connecting Asian markets with Europe and North America. Companies based in Bombay therefore often acted as intermediaries in the international trade of photographic equipment, optical instruments, and motion picture technology.

The envelope is addressed to the Bell & Howell Company in Chicago, United States. Bell & Howell was founded in 1907 by Donald J. Bell and Albert S. Howell and soon became one of the leading manufacturers of motion picture cameras, film projectors, and film processing equipment. Throughout the twentieth century the company played an important role in the development and standardization of motion picture technology. As a result, the firm maintained extensive commercial relationships with distributors and suppliers around the world.

Several postage stamps issued by the postal administration of British India are affixed to the envelope. The stamps display the portrait of the British monarch and reflect the colonial postal system of the period. The postal cancellation indicates Bombay as the place of mailing. Although the exact date is difficult to read, the envelope appears to have entered the postal system during the years of the Second World War.

One of the most notable features of the envelope is the presence of censorship markings on the left side. The phrase "Passed by Censor" together with triangular censor labels indicates that the correspondence was inspected under wartime postal censorship regulations. During the Second World War, international mail within the British Empire was subject to strict inspection procedures intended to prevent the transmission of military or strategically sensitive information.

The small illustration printed in the lower left corner of the envelope appears to function as a commercial logo or decorative element possibly associated with optical or photographic equipment. Such graphic elements were frequently used in commercial envelopes to reinforce corporate identity.

From a collecting perspective, this envelope belongs to several thematic categories. It represents an example of wartime censored mail from the Second World War. It also constitutes a document relevant to the postal history of British India. In addition, because it involves correspondence with the Bell & Howell Company, the envelope illustrates the international trade networks associated with the motion picture and photographic equipment industries.

In conclusion, this envelope represents more than a routine example of commercial mail. It stands as a historical witness to the functioning of global trade networks during the Second World War and demonstrates the role of the postal system in maintaining international commercial communication. The correspondence between a trading firm in Bombay and a motion picture technology manufacturer in Chicago highlights the interconnected nature of the photographic and cinematic industries during the twentieth century. For this reason, the document carries significance both for philatelic study and for the broader history of global technology and commerce.

Record Information

Title: Ravel Brothers India – Photographic Dealer to Bell & Howell

Category: Photographic Industry History / Wartime Trade

Subcategory: Censored Mail / International Correspondence

Country: British India (Sender: Bombay) → USA (Recipient: Chicago) 🗺️ Show Route

City: Bombay (Mumbai) (Sender: Ravel Brothers) → Chicago, Illinois (Recipient: Bell & Howell Company)

Date of use: circa 1940

Company (Sender): Ravel Brothers, 185 Princess Street, Bombay, British India. A trading firm likely involved in the distribution of photographic or optical equipment, operating in India's major commercial port.

Company (Recipient): Bell & Howell Company, Chicago, Illinois, USA. Leading American manufacturer of motion picture cameras, projectors, and film processing equipment, founded 1907.

Object Type: International commercial envelope (wartime censored mail)

Postal Route 🚢: Bombay, India → Chicago, USA (c.1940) (Estimated Route)

Estimated Travel Time: Approximately 3-4 weeks (wartime maritime route via Indian Ocean, Suez Canal/around Africa, Atlantic)

Postal Features: Multiple British India stamps with monarch portrait; Bombay postal cancellation; "Passed by Censor" marking and triangular censor labels (WWII censorship).

Notable Detail: Small commercial logo/illustration in lower left corner, possibly related to optical/photographic trade.

Language: English

Material: Paper envelope

Dimensions: Standard envelope format

Collection Theme: Ravel Brothers, Bombay commerce, Princess Street, Bell & Howell, Chicago, wartime censorship, Passed by Censor, WWII mail, British India postal history, photographic equipment trade, India-USA commerce.

Archival Significance: This WWII-era envelope documents commercial correspondence between an Indian trading firm and a major U.S. motion picture equipment manufacturer, with censorship markings illustrating the impact of global conflict on international trade.

🚢 Postal Route: India → USA (c.1940) (Estimated Route)

📍 Bombay (Mumbai), India 🇮🇳 → 🚢 Arabian Sea → 🇾🇪 Aden → 🚢 Red Sea → 🇪🇬 Suez Canal / Cape of Good Hope → 🌊 Atlantic Ocean → 🇺🇸 New York → 🚂 Chicago, Illinois

📮 Ravel Brothers (Bombay, India) → 🚢 Wartime maritime mail → 📬 Bell & Howell Company (Chicago, Illinois)
"Passed by Censor" | WWII censorship | British India stamps | Motion picture equipment trade | Estimated travel time: 3-4 weeks

Map data © OpenStreetMap contributors (ODbL) – https://www.openstreetmap.org/copyright

Research Note:

This article is based on historical research and independent analysis of the material in the author's collection. The text has been prepared as an original interpretative study and does not reproduce copyrighted material.

This item is documented as part of the Photography in Postal History research project.
For research context, see the Research Methodology.
For academic reference, please refer to How to Cite This Archive.

Date of use : 1937 USA

Shermer's Photographic Goods – U.S. Camera Supplier

The first half of the twentieth century was a period during which photographic technology spread rapidly and photographic equipment was distributed through extensive commercial networks. Camera manufacturers, film producers, and optical instrument makers did not operate solely from large industrial centers; their products were also marketed nationwide through local retailers and regional distributors. In the United States, this commercial structure developed particularly within the industrial ecosystem established by major manufacturers such as Eastman Kodak. As a result, photographic equipment became increasingly accessible to both professional photographers and amateur users. This commercial envelope, sent from the town of Seymour in the state of Connecticut and dated 1937, represents a small yet meaningful historical document illustrating the functioning of these distribution networks.

The printed letterhead in the upper left corner of the envelope reads "Shermer's Photographic Goods," with the address given as Bank Street in Seymour, Connecticut. This indicates that the sender was a commercial establishment engaged in the sale of photographic equipment and photographic supplies. During the first half of the twentieth century, such businesses were widespread across the United States. Local photographic stores supplied cameras, rolls of film, darkroom chemicals, and printing materials to both amateur and professional photographers. Firms of this kind frequently operated as distributors for national manufacturers and played an important role in expanding the accessibility of photographic technology throughout the country.

The recipient of the envelope is identified as "Burleigh Brooks, Inc." located in New York City. The address specifies a business location on West 42nd Street in Manhattan and includes the notation "Attn: Wholesale Div.," indicating that the correspondence was directed to the company's wholesale department. During the mid-twentieth century, Burleigh Brooks, Inc. became known in the United States as an important importer and distributor of photographic equipment. The company played a significant role in bringing photographic products manufactured in Europe and Japan into the American market. For this reason, the correspondence represented by this envelope most likely relates to commercial matters such as product orders, supply arrangements, or distribution agreements.

The document also provides insight into the postal system of the period. The postmark on the envelope bears the inscription "Winsted & Boston R.P.O." The abbreviation R.P.O. refers to the Railway Post Office system. Beginning in the late nineteenth century, mail in the United States was transported in postal cars attached to railway trains, where it was often sorted while in transit. This system significantly increased the speed of mail distribution and contributed to the establishment of an efficient communication network between major cities. The postmark date reads 20 November 1937. The three-cent United States postage stamp affixed to the envelope belongs to the widely used Washington portrait series of the period. Documents of this kind therefore represent not only postal artifacts but also valuable archival sources for understanding the spread of photographic technology and the development of commercial networks in the early twentieth century.

Record Information

Title: Shermer's Photographic Goods – U.S. Camera Supplier

Category: Photographic Industry History / Local Retail

Subcategory: Wholesale Distribution / Business Correspondence

Country: USA

City: Seymour, Connecticut (Sender) / New York City (Recipient)

Date of use: 20 November 1937

Company (Sender): Shermer's Photographic Goods, 68 Bank Street, Seymour, Connecticut. Local retailer of cameras, film, and photographic supplies.

Company (Recipient): Burleigh Brooks, Inc., 127 West 42nd Street, New York City (Attention: Wholesale Division). Prominent U.S. importer and distributor of photographic equipment, specializing in European and Japanese products.

Object Type: Domestic commercial envelope (business correspondence)

Postal Route: Seymour, Connecticut → New York City (via Winsted & Boston Railway Post Office)

Language: English

Material: Paper envelope

Stamp: 3-cent George Washington, standard U.S. issue, 1930s.

Dimensions: Standard envelope format

Collection Theme: Shermer's, Seymour Connecticut, Burleigh Brooks, New York photographic trade, wholesale distribution, local camera stores, 1930s retail, Railway Post Office (R.P.O.), U.S. postal history, import-export networks, George Washington stamp.

Archival Significance: This 1937 envelope documents the business link between a local Connecticut photographic retailer and a major New York wholesaler, illustrating the distribution network of photographic supplies in mid-century America.

Research Note:

This article is based on historical research and independent analysis of the material in the author's collection. The text has been prepared as an original interpretative study and does not reproduce copyrighted material.

This item is documented as part of the Photography in Postal History research project.
For research context, see the Research Methodology.
For academic reference, please refer to How to Cite This Archive.