Date of use : 1950 Belgium

Publibel Belgium Cards & Kodak Ads

This unused postcard is a nostalgic piece published as part of the Publibel series, originating from Belgium and featuring an advertisement for the Kodak company. In the image, a photographer is shown holding a large, box-style camera.

Publibel refers to a series of advertising postcards issued in Belgium between 1933 and 1984. These cards were printed by the "Agence Publicité de Belge Postale" (Belgian Postal Advertising Agency), from which the name Publibel is derived.

Initially, around 209 cards were issued without any numbering, but a numbering system was later introduced. Starting with card number 2225, letter codes indicating the language of the card were added: N for Dutch, F for French, A for German, and NF or FN for bilingual cards (Dutch/French or French/Dutch). Over the course of its publication, more than 3,000 cards were produced, and the proceeds from their sale were donated to charitable organizations.

Record Information

Title: Publibel Belgium Cards & Kodak Ads

Category: Advertising History / Commercial Ephemera

Subcategory: Belgian Postal History / Kodak Marketing

Country: Belgium

Date of use: c. 1950 (mid-20th century, based on design and Publibel series period 1933-1984)

Series: Publibel (Agence Publicité de Belge Postale – Belgian Postal Advertising Agency)

Issuance Period: 1933-1984, over 3,000 cards produced

Numbering: Initially unnumbered (approx. 209 cards), later numbered; from card 2225 language codes added (N=Dutch, F=French, A=German, NF/FN=bilingual)

Beneficiary: Proceeds donated to charitable organizations

Advertiser: Kodak

Image: Photographer holding large box-style camera

Object Type: Unused advertising postcard

Language: Multilingual (card format)

Material: Printed card stock

Dimensions: Standard postcard format

Collection Theme: Belgian advertising history, Kodak marketing, mid-century commercial art, charitable postcard programs

Archival Significance: This unused Publibel postcard represents a unique intersection of commercial advertising, postal history, and charitable fundraising in mid-20th century Belgium. The Publibel series (1933-1984), issued by the Belgian Postal Advertising Agency, produced over 3,000 cards featuring advertisements for various companies, with proceeds benefiting charitable organizations. This Kodak advertisement, depicting a photographer with a classic box camera, illustrates how photographic companies leveraged popular postcard formats to reach consumers. The multilingual approach (Dutch, French, German codes) reflects Belgium's linguistic diversity. This item is a primary source for understanding mid-century advertising strategies, the role of postal services in commercial promotion, and the cultural presence of Kodak as a brand synonymous with photography. As an unused card, it preserves the original design intent without postal markings, offering insight into the production and distribution of advertising ephemera.

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 : 1903, Palestine

Marroum Photography Studio at Haifa Gate, Jerusalem

The postcard examined here depicts a street scene near the Jaffa Gate area of Jerusalem, one of the principal entrances to the historic city. The caption printed on the card reads "Jérusalem – Rue de la Porte de Jaffa," indicating that the photograph was taken along the street leading from Jaffa Gate into the city. During the Ottoman period this gate served as one of the most important access points to Jerusalem, particularly for travelers and merchants arriving from the Mediterranean port of Jaffa. As a result, the surrounding district became a major commercial zone and a central point of contact for international visitors.

The publisher's mark "Ephraïmos Frères, Port-Said" indicates that the postcard was produced or distributed by a commercial firm based in Port Said. Following the opening of the Suez Canal, Port Said developed into an important maritime hub connecting Europe and the Middle East. By the late nineteenth and early twentieth centuries the city had become a significant center for the production and distribution of tourist postcards depicting locations across the Eastern Mediterranean.

The architectural features visible in the photograph provide valuable insight into the urban landscape of Jerusalem during the late Ottoman period. Stone-built multi-storey structures, balconies, and shopfronts illustrate the commercial character of the street. The presence of pedestrians from different cultural backgrounds reflects the cosmopolitan nature of the city during this era. Local merchants, pilgrims, and foreign visitors transformed the Jaffa Gate district into one of the most dynamic public spaces in Jerusalem.

At the center of the photograph a shop sign can be clearly identified reading "F. F. Marroum – Objets de Piété – Photographies." This inscription indicates the presence of a photographic studio that also specialized in the sale of religious souvenirs. The French expression "objets de piété" refers to devotional objects or religious memorabilia. Such establishments were common in cities associated with pilgrimage, where visitors purchased small religious artifacts, devotional items, and photographic souvenirs representing sacred locations.

The business operated by F. F. Marroum appears to have combined these two commercial activities. Photographic studios frequently sold images of holy sites, produced portrait photographs for visiting pilgrims, and distributed photographic postcards. The sale of devotional objects and photographic images formed part of the same tourist economy. In religious centers such as Jerusalem, these establishments functioned both as photographic studios and as commercial outlets serving international travelers.

From the late nineteenth century onward the number of photographic studios in Jerusalem increased significantly. European pilgrims and tourists visiting the Holy Land created strong demand for visual souvenirs, including photographs of sacred sites and portrait images documenting their journey. This demand encouraged the development of a local photographic industry in which both local photographers and foreign-operated studios participated. The commercial district near Jaffa Gate became one of the principal locations where such photographic businesses operated.

The reverse side of the postcard indicates that it was mailed in 1903. The printed inscription "Union Postale Universelle – Égypte" demonstrates the integration of the Egyptian postal system into the international postal network governed by the Universal Postal Union. The card was addressed to a recipient in Marseille, France. Through international postal routes such postcards circulated widely, contributing to the visual dissemination of cities such as Jerusalem across Europe.

From a collecting perspective the postcard belongs to several thematic categories. It represents an example of early urban photography depicting Jerusalem during the Ottoman period. It also forms part of the tourist postcard trade that developed in the Eastern Mediterranean. Furthermore, it provides rare visual documentation of the location of photographic studios within the urban environment of the city.

Viewed within a broader historical framework, the postcard documents not only a street scene but also the intersection of photographic production, pilgrimage tourism, and international postal networks. Local studios such as that operated by F. F. Marroum played an important role in the circulation of images of Jerusalem throughout the world. The postcard therefore constitutes a valuable historical source for understanding the early photographic economy and the global visual culture associated with travel to the Holy Land.

Record Information

Title: Marroum Photography Studio at Haifa Gate, Jerusalem

Category: Photographic Industry History / Pilgrimage Tourism

Subcategory: Urban Photography / Ottoman Palestine

Country: Palestine (Ottoman Empire) (Origin) → France (Destination) 🗺️ Show Route

City: Jerusalem → Marseille

Date of use: 1903

Business: F. F. Marroum, Jaffa Gate district, Jerusalem. A photographic studio and religious souvenir shop operating in the commercial district near Jaffa Gate, combining photography services with the sale of devotional objects for pilgrims and travelers visiting the Holy Land.

Publisher: Ephraïmos Frères, Port Said, Egypt. A commercial firm based in the Suez Canal port city, specializing in the production and distribution of tourist postcards depicting locations across the Eastern Mediterranean.

Object Type: International postal card (used)

Postal Route 🚢: Jerusalem → Port Said → Marseille

Estimated Travel Time: Approximately 5-7 days (by land to Port Said, then sea via Mediterranean)

Postal Features: Egyptian postal system; "Union Postale Universelle – Égypte" inscription; Marseille destination; international UPU postal rate

Language: French

Material: Paper postcard with photographic reproduction

Dimensions: Standard postcard format

Collection Theme: Jaffa Gate, Jerusalem photography, Ottoman Palestine, Marroum studio, pilgrimage souvenirs, Ephraïmos Frères, Port Said postcard trade, late Ottoman commercial photography, Holy Land tourism, visual culture, international postal networks

Archival Significance: This 1903 postcard provides rare visual documentation of a photographic studio operating in the Jaffa Gate district of Jerusalem, illustrating the intersection of photography, pilgrimage commerce, and international postal networks in the Eastern Mediterranean during the late Ottoman period.

🚢 Postal Route: Jerusalem → Marseille (1903)

📍 Jerusalem, Palestine → 🚂 Jaffa → 🚢 Port Said, Egypt → 🌊 Mediterranean Sea → 📬 Marseille, France

📮 Jerusalem (Marroum Studio) → 🚢 Maritime route via Port Said → 📬 Marseille
Ephraïmos Frères postcard publisher | Estimated travel time: 5-7 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.

F. Medicine Monaco Photographic Dealer Cover

Date of use : 16 November 1938, Monaco

F. Medicine Monaco Optical Manufacturer Cover

This commercial cover represents a piece of correspondence sent in the late 1930s by the optical manufacturer F. M. Decin, who operated in the Monte Carlo district of the Principality of Monaco. The printed letterhead at the top of the envelope identifies the sender as an "opticien-fabricant," indicating that the firm functioned as both an optician and a manufacturer. The text further describes the company as a "manufacture of precision instruments for optics and photography," suggesting that the business was involved in the production or distribution of optical devices used in photographic equipment and related technical fields. The address printed on the envelope refers to premises located on Boulevard des Moulins within the Hôtel Monte-Carlo Palace. Such addresses were not uncommon in European resort cities where commercial enterprises often operated from hotel complexes or mixed commercial buildings. The additional phrase "L'été à Aix-les-Bains" indicates that the company maintained seasonal activity in the French spa town of Aix-les-Bains during the summer months. This seasonal relocation reflects a commercial strategy commonly employed by businesses that served tourist clientele along the Mediterranean and Alpine resort circuits.

Although detailed biographical information about F. M. Decin remains limited, the firm was likely operated by an optical craftsman or entrepreneur active during the first half of the twentieth century. During this period optical specialists frequently worked not only in the field of ophthalmic optics but also in the production of lenses, optical accessories, and precision components used in photographic devices. The rapid technological development of photography during the interwar period created strong commercial connections between optical manufacturers, camera producers, and photographic equipment distributors.

The recipient indicated on the envelope appears to be "Herman Stegmann & Seeger, Optical," located in the city of Rastatt in the German region of Baden-Württemberg. Germany had become one of Europe's most important centers for optical and precision instrument manufacturing since the late nineteenth century. Industrial regions associated with optical innovation, particularly those surrounding Jena and other technical centers, contributed significantly to developments in photographic lenses, microscopes, and precision optical devices. Firms operating in cities such as Rastatt typically engaged in the trade of optical instruments, eyeglasses, and technical optical equipment. The correspondence represented by this cover may therefore be interpreted as part of a broader European network of optical manufacturing and commercial exchange.

The historical context of this document coincides with a period of rapid growth in optical and photographic technology. During the early twentieth century photographic equipment became more accessible, and amateur photography expanded into a substantial commercial market. This expansion strengthened international trade relationships between lens manufacturers, photographic material producers, and regional distributors. Optical retailers and manufacturers operating in resort locations such as Monte Carlo often served a wealthy international clientele, supplying items such as binoculars, spectacles, and photographic accessories. At the same time, these businesses maintained commercial relationships with manufacturers and distributors across Europe.

The postal and philatelic characteristics of the envelope provide additional historical context. The postage stamp originates from the postal system of the Principality of Monaco and bears a design incorporating the princely heraldic emblem. Stamps of this type were widely used by the Monaco postal administration during the early twentieth century. The circular cancellation marks contain the inscription "Monte Carlo" and indicate a date corresponding to 16 November 1938. This places the document in the final years preceding the outbreak of the Second World War. The visual appearance of the envelope reflects the typical style of commercial correspondence from the period, combining simple typographic design with clearly printed business information.

From a collecting perspective, the document can be associated with several thematic categories. It represents commercial correspondence connected with the optical and photographic industries, while also belonging to the field of Monaco postal history. Additionally, it provides evidence of the commercial relationships linking optical manufacturers and distributors within Europe during the interwar period. Documents of this nature are valuable archival sources because they illustrate the economic networks through which optical and photographic technologies circulated across international markets.

In conclusion, this cover should be understood as more than a simple postal item. It constitutes a historical document reflecting the commercial connections that linked optical manufacturers in Monaco with optical businesses in Germany during the late 1930s. The correspondence between these firms illustrates the broader network of trade and technological exchange that supported the development of optical and photographic industries in Europe. Such documents demonstrate that the history of photography and optics evolved not only through scientific innovation but also through international commerce, distribution networks, and the infrastructure of postal communication.

Record Information

Title: F. Medicine Monaco Optical Manufacturer Cover

Category: Optical Industry History / Photographic Industry History

Subcategory: Commercial Correspondence / Precision Instruments / European Trade Networks

Country: Monaco (Sender: Monte Carlo) → Germany (Recipient: Rastatt) 🗺️ Show Route

City: Monte Carlo (Sender: F. M. Decin) → Rastatt (Recipient: Herman Stegmann & Seeger)

Date of use: 16 November 1938

Company (Sender): F. M. Decin, Opticien-Fabricant, Boulevard des Moulins (Hôtel Monte-Carlo Palace), Monte Carlo, Monaco. Manufacturer of precision instruments for optics and photography, with seasonal operations in Aix-les-Bains, France.

Company (Recipient): Herman Stegmann & Seeger, Optical, Rastatt, Baden-Württemberg, Germany. A German optical business engaged in the trade of optical instruments and precision equipment.

Object Type: International commercial envelope with printed letterhead

Postal Route 🚂🚢📮 (Estimated Route): Monte Carlo, Monaco → Rastatt, Germany (16 November 1938)

Estimated Travel Time: Approximately 2-3 days (railway via Nice, Marseille, Strasbourg)

Postal Features: Monaco postage stamp with princely heraldic emblem; Monte Carlo circular postal cancellation (16 November 1938).

Language: French

Material: Paper envelope

Dimensions: Standard envelope format

Collection Theme: F. Medicine, Monte Carlo optical trade, Monaco postal history, Herman Stegmann & Seeger, Rastatt optical industry, precision instruments, interwar European commerce, photographic optics, German optical manufacturing, seasonal business operations.

Archival Significance: This 1938 envelope documents the commercial connections between a Monaco-based optical manufacturer and a German optical firm, illustrating the international trade networks that supported the optical and photographic industries in interwar Europe.

🚂🚢📮 Postal Route: Monte Carlo → Rastatt (16 November 1938) (Estimated Route)

🔬 F. Medicine (Monte Carlo) 🇲🇨 → 🚂 Railway → 🇫🇷 Nice → 🇫🇷 Marseille → 🇩🇪 Strasbourg → 🇩🇪 Rastatt (Herman Stegmann & Seeger) 🇩🇪

📮 Commercial correspondence (optical instruments) → 🚂 French-German railway network → 📬 Herman Stegmann & Seeger, Rastatt
Precision instruments for optics & photography | Monaco postal stamp | Pre-WWII (1938) | Estimated travel time: 2-3 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 : 10 December 1931, USA

Blue Bird Studios Business Stationery – Educational Photos

This envelope represents a notable postal document illustrating the relationship between commercial photography studios and educational institutions in the United States during the early twentieth century. The printed heading on the upper left identifies the sender as Blue Bird Studios, located at 1530 North 61st Street, Philadelphia, Pennsylvania. The logo features a flying bird motif accompanied by the phrase "Specializing in Scholastic Photography." This description indicates that the studio focused on school photography, a field that expanded rapidly in the United States during the early twentieth century. By the 1920s and 1930s, school portrait photography, class photographs, and graduation portraits had become standard elements of educational documentation.

Although detailed historical records about Blue Bird Studios are limited, the information printed on the envelope suggests that it was likely a regional commercial photography studio serving local schools and educational institutions. Philadelphia, as one of the largest American cities of the period, hosted numerous schools and colleges, which would have provided a substantial market for school photography services. Studios specializing in scholastic photography often worked directly with schools to produce student portraits, class photographs, and images for yearbooks and institutional archives.

The recipient is identified as The University of the State of New York, State Education Department, Administration Division, Albany, New York. The "University of the State of New York" refers not to a conventional university campus but to the administrative structure responsible for overseeing education throughout the state of New York. Established in the late eighteenth century, this organization supervises educational institutions and maintains regulatory authority over various aspects of the state's educational system. The fact that a commercial photography studio addressed correspondence to this administrative body suggests that the communication may have involved licensing matters, promotional materials, administrative registration, or a proposal related to educational photography services. However, since the contents of the envelope are unknown, this interpretation should be considered a plausible but unconfirmed possibility.

The postal cancellation indicates Philadelphia, Pennsylvania, December 10, 1931. This date falls within the period of the Great Depression, which began in 1929 and significantly affected many sectors of the American economy. Despite widespread economic hardship, certain specialized fields such as school photography remained relatively stable, as educational institutions continued to document students and maintain photographic records for administrative and commemorative purposes.

The envelope bears a 2-cent United States postage stamp featuring the portrait of George Washington, a denomination commonly used for domestic first-class mail during the late 1920s and early 1930s. The marking "Middle City" appears near the cancellation and likely refers to a postal distribution district or routing designation within Philadelphia. Large American cities frequently used such designations to manage internal postal sorting and delivery systems.

From a graphic design perspective, the Blue Bird Studios emblem printed on the envelope is notable. The imagery of a bird in flight surrounded by clouds reflects stylistic elements typical of early twentieth-century commercial branding. Such logos were widely used by photographic studios to strengthen corporate identity and enhance visual recognition in business correspondence. Because photography was itself a visual medium, studios often paid particular attention to the design of their stationery and promotional materials.

From a collecting standpoint, the envelope holds significance across several thematic categories. It is particularly relevant for collections focused on the history of scholastic photography and commercial photographic studios. In addition, it may be included in collections related to American postal history, Philadelphia commercial correspondence, photographic studio stationery, and interactions between educational institutions and private businesses.

In conclusion, this envelope constitutes a small yet meaningful historical artifact documenting the connections between photography and educational institutions in the early twentieth century. School photography played an important role in the broader diffusion of photographic practices within everyday social life. Studios such as Blue Bird Studios contributed to the creation of visual records of students and educational communities. Postal documents of this kind should therefore be understood not only as instruments of communication but also as archival traces of the economic, institutional, and cultural networks of their time.

Record Information

Title: Blue Bird Studios Business Stationery – Educational Photos

Category: Photographic History / Scholastic Photography

Subcategory: Commercial Correspondence / Educational Institutions

Country: USA

City: Philadelphia, Pennsylvania (Sender) / Albany, New York (Recipient)

Date of use: 10 December 1931

Studio (Sender): Blue Bird Studios, 1530 North 61st Street, Philadelphia, Pennsylvania. A commercial photography studio specializing in scholastic photography (school portraits, class photos, yearbook images). Logo: flying bird with "Specializing in Scholastic Photography".

Institution (Recipient): The University of the State of New York, State Education Department, Administration Division, Albany, New York. The administrative body overseeing education throughout New York State.

Object Type: Domestic commercial envelope (studio-institution correspondence)

Postal Features: 2-cent George Washington definitive stamp; Philadelphia, PA cancellation (10 Dec 1931); "Middle City" postal routing designation.

Notable Design: Bird-in-flight logo with clouds, reflecting early 20th-century commercial branding.

Language: English

Material: Paper envelope

Dimensions: Standard envelope format

Collection Theme: Blue Bird Studios, Philadelphia photography, scholastic photography, school portraits, University of the State of New York, Albany, George Washington stamp, Great Depression-era commerce, educational administration, studio branding.

Archival Significance: This 1931 envelope documents a commercial photography studio's correspondence with a state education authority, illustrating the intersection of private photographic services and public educational administration during the Great Depression.

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 : 1925 USA

J.L. Poist – Photographer Business Stationery USA

This envelope represents a piece of commercial postal material sent by the photographer J. L. Poist, who operated in the town of Hanover in the state of Pennsylvania, United States. The upper left corner of the envelope bears a purple handstamp reading "J. L. Poist – Photographer – Hanover, Pa." Such handstamped markings were commonly used by small and medium-sized businesses during the early twentieth century as a simple form of corporate identification. Photographic studios frequently employed stamped envelopes, letterheads, and business cards not only for routine correspondence but also as a means of advertising their services. Hanover developed during the late nineteenth century as a regional center of small-scale commerce and craft production, and local photographic studios played an important role in the social and cultural life of the community. These studios typically offered portrait photography, family photographs, identification portraits, and occasionally postcard production, services that were widely in demand in small American towns.

The addressee of the envelope is written by hand as "Mrs. Chas. Frey," with the destination given as Fairfield, Pennsylvania. This indicates that the letter was addressed to a private individual rather than to a business. Fairfield is located relatively close to Hanover, and the two towns have historically maintained close social and commercial connections. For this reason, it is likely that the item represents a transaction between a photographic studio and a local customer. During this period professional photographers frequently mailed finished photographic prints or portrait orders directly to their clients. The presence of a "Parcel Post" marking suggests that the envelope may originally have contained photographic prints or a small photographic package prepared for delivery to the customer.

The postage stamps affixed to the envelope represent typical examples of early twentieth-century United States postal issues. The designs include portraits of Benjamin Franklin, George Washington, and James Monroe, figures who appeared frequently on American definitive stamp series. Such portrait stamps formed the visual foundation of U.S. postal design for many decades. Postal markings on the envelope indicate that the item was processed in 1925, a period during which the American postal system was undergoing significant expansion. In the early decades of the twentieth century postal services became increasingly accessible, particularly in rural regions of the United States, allowing small businesses to maintain regular correspondence and shipping connections with nearby communities.

Within the broader economic context of the period, the photographic industry was experiencing gradual transformation. Although amateur photography had begun to expand through the availability of more accessible cameras, professional portrait studios remained highly important during the first quarter of the twentieth century. Skilled studio photographers continued to provide services that amateur equipment could not easily replicate, especially in the production of carefully posed portrait photographs. In smaller towns, photographers typically relied on regional networks of clients and frequently used the postal system to deliver finished prints. As a result, the exchange of photographic materials by mail formed a routine component of the professional photographic economy.

From a philatelic perspective, one of the notable aspects of the envelope is the use of multiple stamps with different denominations. This combination suggests that the item exceeded the standard letter rate and required additional postage, which supports the interpretation that the envelope contained a small parcel. The "Parcel Post" marking reinforces this conclusion. The parcel post system was formally introduced in the United States in 1913 and quickly became an important part of the national postal infrastructure. It enabled individuals and small businesses to ship packages at relatively affordable rates, greatly facilitating regional trade and local commerce. For photographic studios, the system provided a practical method for delivering prints and photographic products to customers located beyond the immediate vicinity of the studio.

From a collecting perspective, this envelope can be classified within several intersecting categories. It represents a piece of commercial correspondence originating from a photographic studio, making it relevant to collections focusing on the history of photography and photographic businesses. At the same time, it provides an example of early twentieth-century American parcel post usage, a subject of interest to postal history collectors. In addition, the envelope offers a tangible document of local photographic practice in a small American town, contributing to the broader study of visual culture and everyday commercial life. Ephemeral materials associated with small photographic studios often survive only in limited numbers, which enhances the archival significance of such items.

When viewed within a wider historical context, this envelope represents more than a simple postal artifact. It provides a small but meaningful insight into the relationship between photographic production, local commerce, and postal infrastructure in early twentieth-century America. The shipment from a photographic studio in Hanover to a client in nearby Fairfield reflects the everyday economic practices of professional photographers during the period. Studios not only produced images but also relied extensively on postal services to distribute their work. Consequently, documents such as this envelope serve as valuable evidence of the interconnected systems of communication, commerce, and visual culture that shaped the practice of photography in the early decades of the twentieth century.

Record Information

Title: J.L. Poist – Photographer Business Stationery USA

Category: Photographic History / Portrait Studios

Subcategory: Client Correspondence / Parcel Post

Country: USA

City: Hanover, Pennsylvania (Sender) / Fairfield, Pennsylvania (Recipient)

Date of use: 1925

Studio (Sender): J.L. Poist, Photographer, Hanover, Pennsylvania. A local portrait studio operating in the 1920s, offering services such as portraits, family photographs, and postcard production.

Recipient: Mrs. Chas. Frey, Fairfield, Pennsylvania. A local client of the studio.

Object Type: Domestic commercial envelope with parcel post content

Postal Features: Multiple U.S. definitive stamps (Benjamin Franklin, George Washington, James Monroe); "Parcel Post" marking; 1925 postal cancellation.

Language: English

Material: Paper envelope

Dimensions: Standard envelope format

Collection Theme: J.L. Poist, Hanover Pennsylvania, Fairfield PA, portrait studios, 1920s photography, parcel post, U.S. definitive stamps, Franklin-Washington-Monroe, small-town commerce, client correspondence, photographic print delivery.

Archival Significance: This 1925 parcel post envelope documents the delivery of photographic prints from a small-town Pennsylvania studio to a local client, illustrating the integration of professional photography with rural postal infrastructure.

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.