Date of use : 1947, France

Jules Richard: Pioneer of Stereoscopic Photography

Jules Richard was one of the leading figures in the French photographic industry and precision instrument manufacturing during the late nineteenth and early twentieth centuries. Best known today for his pioneering work in stereoscopic photography, Richard was also the founder of a major industrial enterprise that produced scientific measuring instruments, meteorological equipment, and recording devices.

Jules Nicolas Richard was born on December 19, 1848, in France and died in Paris on June 18, 1930. His interest in mechanics and engineering developed at an early age. Through the scientific instrument business operated by his father, Félix Richard, he gained valuable experience in precision mechanics and manufacturing. Following his father's death, he took over the family business and expanded it into a highly successful industrial company.

During the 1880s, the company, operating under the name Richard Frères, became a prominent manufacturer of meteorological and industrial measuring instruments. Its product range included barographs, thermographs, hygrographs, anemometers, and various recording devices. These instruments were widely used throughout France and across Europe. Continuous-recording measurement systems developed by Richard played an important role in scientific research and environmental monitoring. His instruments were adopted by meteorological stations, laboratories, and public institutions, helping establish the company's reputation for accuracy and reliability.

Jules Richard's most significant contribution to photographic history lies in the field of stereoscopic imaging. Stereoscopy is a technique that creates the illusion of three-dimensional depth by presenting two slightly different images to the viewer's eyes. Although the technology had existed throughout the nineteenth century, Richard greatly improved its practicality and popularity.

In 1893, he introduced the Vérascope, a camera designed specifically for stereoscopic photography. Equipped with twin lenses that simultaneously captured two images, the Vérascope quickly became one of the most successful stereoscopic cameras in Europe. Its robust metal construction, high manufacturing quality, and ease of use made it popular among both amateur and professional photographers. Vérascope cameras were widely distributed not only in France but also in the United Kingdom, Germany, and the United States.

Another major innovation developed by Richard was the Taxiphote, an advanced stereoscopic viewer introduced at the end of the nineteenth century. The Taxiphote allowed users to view collections of stereoscopic photographs in an organized and efficient manner. Images could be stored in special carriers and viewed sequentially, providing a high-quality three-dimensional experience. The device became one of the most successful stereoscopic viewing systems of its era and played a significant role in the preservation and presentation of photographic collections.

In 1904, Richard introduced the Glyphoscope, a more affordable stereoscopic system aimed at a wider audience. Designed to function both as a camera and a viewer, the Glyphoscope helped popularize stereoscopic photography among amateur enthusiasts. It remained in production for many years and became one of the most recognizable products associated with the Jules Richard company.

The headquarters and manufacturing facilities of the company were located on Rue Mélingue in Paris's 19th arrondissement. This address frequently appears on the firm's envelopes, catalogs, advertising materials, and business correspondence. The company was not limited to photographic equipment; it also produced electrical measuring devices, recording instruments, and a wide variety of scientific apparatus.

By the first half of the twentieth century, Établissements Jules Richard had become one of France's most respected manufacturers of precision instruments. Company stationery and catalogs often featured descriptions such as Instruments de Précision, Enregistreurs, Vérascope, and Appareils de Mesures Électriques, reflecting the broad scope of its activities.

Following Jules Richard's death in 1930, the company continued its operations, particularly in the field of measurement technology. Today, the name Jules Richard remains closely associated with both the development of stereoscopic photography and the advancement of precision mechanical engineering. His innovations helped shape the evolution of photographic imaging and scientific instrumentation during a period of rapid technological progress.

Record Information

Title: Jules Richard: Pioneer of Stereoscopic Photography

Category: Photographic Industry History / Precision Instrument Manufacturing

Subcategory: Commercial Correspondence / French Optical and Instrument Trade

Country: France (Paris) 🗺️ Show Route

City: Paris (Sender - 19th arrondissement, Rue Mélingue)

Date of use: 1947

Company (Sender): Établissements Jules Richard, Paris. A leading French manufacturer of precision instruments, stereoscopic cameras (Vérascope), viewers (Taxiphote), and scientific recording devices.

Object Type: Commercial envelope / business stationery

Postal Route 🚂: Paris, France (1947)

Postal Features: French postage stamp (1947 issue); Paris postal cancellation.

Language: French

Material: Paper envelope

Dimensions: Standard envelope format

Collection Theme: Jules Richard, Vérascope, Taxiphote, Glyphoscope, stereoscopic photography, French precision instrument making, Rue Mélingue Paris, 19th arrondissement, Richard Frères, meteorological instruments, recording devices.

Archival Significance: This 1947 commercial envelope from Établissements Jules Richard documents a key French innovator in stereoscopic photography and precision engineering. It provides primary evidence of the company's operations and serves as a tangible link to the history of the Vérascope, Taxiphote, and the global trade in optical and photographic instruments.

🚂 Postal Route: Paris, France (1947)

📍 Établissements Jules Richard, Rue Mélingue, Paris 19ème 🇫🇷 → 🚂 Paris Postal System → 📬 Recipient

📮 Jules Richard Company (Paris, Vérascope & Taxiphote manufacturer) → 🚂 French postal service → 📬 Customer/Business partner
Precision instruments | Stereoscopic cameras | Scientific recording devices | 1947 commercial correspondence

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.

Postcard to Photographer Theodor Stephani

Date of use : 1903, Germany

Postcard to German Photographer Theodor Stephani

This postcard represents a valuable document from both philatelic and professional perspectives, illustrating the direct relationship between the photographic profession and the postal system in Germany at the beginning of the twentieth century. The presence of the term “Postkarte” and the printed address format on the front reflects the standardized design of German postcards of the period, while the explicit use of the professional title “Photograph” in the address field clearly indicates that this communication is directly مرتبط with the photographic trade.

The recipient is identified as “Herr Theodor Stephani, Photograph,” with the address given as Zittau in the region of Saxony. This designation clearly confirms Stephani’s status as a professional photographer. During the late nineteenth and early twentieth centuries, photography in Germany developed rapidly as a profession, and studios operating in smaller towns played a significant economic role, particularly through portrait photography and the production of carte-de-visite images. Photographers working in regional centers such as Zittau not only met the visual needs of local communities but also contributed to documenting the social life of the period.

Although the sender is not explicitly identified on the card, the handwriting and tone of the message on the reverse suggest a personal form of communication. At the same time, the inclusion of the recipient’s professional title indicates that the message may have had a semi-professional or business-related context. Postcards of this type were frequently used for placing photographic orders, requesting prints, or maintaining professional correspondence within the trade.

The postage stamp bears the inscription “Deutsches Reich,” clearly situating the card within the period of the German Empire. Its denomination of 2 Pfennig corresponds to contemporary local or short-distance postal rates. The postmark is dated “28.12.1903,” establishing that the card was sent in the final days of that year. Although parts of the cancellation are partially illegible, its circular format reflects the standard postal marking style of the period.

This era witnessed the widespread technical and commercial expansion of photography. Photographic studios became not only sites of image production but also instruments of social representation and identity. Postcards formed an essential extension of this visual culture, serving as a fast, economical, and widely accessible means of communication in both personal and professional contexts. In this sense, the present card may be interpreted as a concrete example of the interaction between the photographic profession and postal communication.

From a philatelic standpoint, the card is notable as an example of German Empire postal stationery, low-value tariff usage, and address formats incorporating professional titles. The explicit mention of “Photograph” enhances its relevance for collections focused on the history of photography. Furthermore, the clearly legible date stamp allows for precise chronological placement.

✉️ Message Transcription (translated from German):

“Dear Sir,

I send you my sincere greetings…

With best wishes for the New Year…”

Due to the faintness of the handwriting, this translation remains interpretative rather than definitive.

In conclusion, this postcard constitutes a small yet meaningful historical document reflecting the social and commercial position of photography in Germany in 1903. Addressed directly to a professional photographer, it provides insight into the functioning of professional networks at the time. It also demonstrates that postcards served not only as tools of communication but as carriers of social and professional relationships. Such materials highlight the importance of examining the history of photography not solely through technological developments, but also through communication practices and everyday life.

Record Information

Title: Postcard to German Photographer Theodor Stephani

Category: Photographic Profession History / Postal Communication

Subcategory: Personal Correspondence / German Empire Postal History

Country: Germany → Germany

City: [Sender location unknown] → Zittau, Saxony

Date of use: 28 December 1903

Recipient: Theodor Stephani, Photograph, Zittau, Saxony, Germany. A professional photographer active in the region during the German Empire period.

Object Type: Domestic postal card (used)

Postal Features: German Empire 2 Pfennig postage stamp; circular postal cancellation (28 December 1903); standard German postcard format.

Language: German

Material: Paper postcard

Dimensions: Standard postcard format

Collection Theme: Theodor Stephani, Zittau photography, German Empire postal history, professional photographers, 1900s German postal stationery, New Year greetings, photographic profession networks, Saxony photography studios.

Archival Significance: This 1903 postcard documents personal correspondence addressed to a professional photographer in Saxony, illustrating the social and professional networks that connected photographers with their clients and associates during the German Empire period, as well as the role of postal communication in daily professional life.

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 1930s-1950s, USA

Eastman Kodak Office Building Postcard, Rochester NY Night

This item is a color postcard depicting the Eastman Kodak Office Building at night in Rochester, New York. The printed caption reads "Eastman Kodak Office Building at Night, Rochester, N.Y." and the lower text identifies the structure as the "Tallest Tower in Rochester."

The visual style and printing technique suggest that the postcard was most likely produced between the 1930s and 1950s, a period when industrial and architectural postcards were widely produced in the United States to promote modern urban landscapes and major corporations.

Because the postcard does not show any written message or postal markings, it was likely produced as a tourist or promotional postcard.

Record Information

Title: Eastman Kodak Office Building Postcard, Rochester NY Night

Category: Photographic Industry History / Corporate Architecture

Subcategory: Promotional Ephemera / Urban Landscapes

Country: USA

City: Rochester, New York

Date of use: circa 1930s-1950s (undated postcard)

Subject: Eastman Kodak Office Building, Rochester, NY. The "Tallest Tower in Rochester," headquarters of the Eastman Kodak Company, one of the world's most influential photographic manufacturers, founded by George Eastman.

Object Type: Promotional/tourist postcard (unused)

Postal Features: None (unused postcard)

Language: English

Material: Card stock

Dimensions: Standard postcard format

Collection Theme: Eastman Kodak, Rochester, George Eastman, corporate architecture, industrial photography, Kodak headquarters, night photography, architectural postcards, 1930s-1950s ephemera, tourism promotion.

Archival Significance: This promotional postcard captures the iconic Eastman Kodak headquarters at night, reflecting the company's central role in Rochester's urban identity and the use of architectural imagery in corporate and tourism promotion.

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 : 1946, Egypt

Egyptian Photo Stores Envelope – Cairo, Egypt

During the first half of the twentieth century, photographic technology was not only an area of technical development but also an important component of international commercial networks. While cameras, optical equipment, and photographic chemicals were largely manufactured in Europe, a rapidly expanding market emerged in the Middle East and North Africa. This commercial envelope, sent from Cairo to Strasbourg in France, represents a tangible trace of that global network. The letterhead printed on the envelope, "Egyptian Photo Stores – Socrates M. Scordos," documents a business that operated within the photographic equipment trade of the period and illustrates its commercial connections with Europe.

The company letterhead located in the upper left corner of the envelope is printed in English and identifies the business as "Egyptian Photo Stores." Beneath the company name appears the name Socrates M. Scordos, who was likely the proprietor of the establishment. The letterhead also includes the expressions "Office, Showroom, Shop & Studio," indicating that the business functioned not only as a retail shop but also as an exhibition space and photographic studio. The address is given as 34 Sharia Abdel Aziz, Cairo. This street, located in the central district of Cairo, was known during the first half of the twentieth century as an area where commercial shops and import companies were concentrated. The presence of an Arabic version of the letterhead on the right side further indicates that the firm addressed both local customers and international commercial partners.

Although direct biographical information about Socrates M. Scordos remains limited, his name strongly suggests that he was likely a member of the Greek Levantine merchant community living in Cairo. During the late nineteenth and early twentieth centuries, Cairo and Alexandria hosted significant Greek and Levantine commercial communities. These groups were particularly active in the import trade, technical equipment distribution, and the sale of modern consumer goods. Considering that most photographic equipment of the period was imported from Europe, it is highly plausible that such merchants operated within these commercial networks. In this context, "Egyptian Photo Stores" was most likely a distributor or importer that supplied European photographic materials to the Egyptian market.

The address portion of the envelope identifies the recipient as RAACO, located at 5 Rue du Hohwald in Strasbourg, France. Throughout the twentieth century, Strasbourg served as an important industrial and commercial center in Europe. Within the regional economy of Alsace, the city hosted numerous companies active in optical production, precision mechanics, and chemical manufacturing. Although the name RAACO is known today in different industrial contexts, in this case the company was likely involved in the trade of photographic equipment, technical materials, or commercial distribution. The fact that the envelope was sent by a photographic supply business suggests that the two firms maintained commercial correspondence.

The postal features of the document are also important for understanding the international postal system of the period. The envelope bears the marking "Par Avion," indicating that it was transported by airmail. Airmail services became an increasingly important means of communication in international commerce beginning in the 1920s. Cairo served as one of the major hubs within the airmail routes connecting Europe and the Middle East. Postal transportation expanded rapidly through the operations of French, British, and other international airline networks. Two Egyptian postage stamps appear on the envelope to frank this airmail dispatch. The stamp design features an airplane motif alongside the portrait of the reigning monarch of Egypt. This iconography reflects a postal aesthetic in which modern transportation technology was presented together with symbols of national identity.

Postal cancellations constitute important philatelic elements demonstrating that the envelope genuinely passed through the postal system. The Cairo departure cancellation has been applied across the stamps, which represents a standard postal procedure. Such cancellations help identify the post office where the item entered the postal system and assist in determining the approximate date of dispatch. In addition, commercial envelopes sent by airmail often contained time-sensitive material such as orders, catalogue requests, or business correspondence, making them valuable documents for the study of commercial history.

From a collecting perspective, this envelope may be associated with several thematic categories. First, it represents a strong example for collections focusing on the history of photography and the trade in photographic equipment. Commercial letterhead envelopes also constitute important sources for studying business history and visual corporate identity. The bilingual letterhead design found on this document clearly reflects the multicultural commercial environment of Cairo. Furthermore, when considered together with its airmail usage and Egyptian postage stamps, the item also holds significance for philatelic collections.

This envelope should therefore be viewed not merely as a postal object but also as a small yet tangible component of the international commercial networks of the mid-twentieth century. The growing popularity of photographic technology, the concentration of equipment manufacturing in Europe, and the expansion of Middle Eastern markets all contributed to the increase in such commercial correspondence. Communication between a photographic shop in Cairo and a firm located in Strasbourg represents a typical example of the global circulation of photographic materials. Documents of this kind demonstrate that international trade was conducted not only by large industrial companies but also through networks of smaller urban businesses and distributors.

In conclusion, this letterhead envelope offers important insights into the globalization of photographic technology. The postal connection established between a photographic equipment store operating in Cairo and a commercial partner in Europe documents the commercial relationships, communication networks, and cultural interactions of the period. For this reason, when examined from both philatelic and photographic historical perspectives, the document should be understood as part of a much broader historical narrative rather than merely as a piece of postal material.

Record Information

Title: Egyptian Photo Stores Envelope – Cairo, Egypt

Category: Photographic Industry History / International Trade

Subcategory: Commercial Correspondence / Middle East-Europe Networks

Country: Egypt (Sender: Cairo) → France (Recipient: Strasbourg) 🗺️ Show Route

City: Cairo (Sender: Egyptian Photo Stores, Socrates M. Scordos) → Strasbourg (Recipient: RAACO)

Date of use: 1946

Company (Sender): Egyptian Photo Stores, proprietor Socrates M. Scordos, 34 Sharia Abdel Aziz, Cairo. A photographic equipment retailer, showroom, and studio. Likely part of the Greek Levantine merchant community in Cairo, acting as an importer/distributor of European photographic materials.

Recipient: RAACO, 5 Rue du Hohwald, Strasbourg, France. Probable supplier or commercial partner in the photographic or precision instruments trade.

Object Type: International airmail envelope (commercial correspondence)

Postal Route ✈️: Cairo, Egypt → Strasbourg, France (1946) (Estimated Route)

Estimated Travel Time: Approximately 2-4 days (airmail via Mediterranean and European routes)

Postal Features: "Par Avion" marking; two Egyptian postage stamps with airplane motif and monarch portrait; Cairo departure cancellation.

Language: English and Arabic (letterhead) / French (address)

Material: Paper envelope

Dimensions: Standard envelope format

Collection Theme: Egyptian Photo Stores, Socrates Scordos, Cairo commerce, Greek Levantine merchants, photographic equipment trade, 1940s Egypt, Strasbourg industry, Franco-Egyptian trade, airmail history, Egyptian philately, bilingual business stationery, Middle Eastern photographic market.

Archival Significance: This 1946 airmail envelope documents the commercial link between a Cairo photographic retailer and a European supplier, illustrating the role of Levantine merchants in the international photographic trade.

✈️ Postal Route: Egypt → France (1946) (Estimated Route)

📍 Cairo, Egypt 🇪🇬 → 🌊 Mediterranean Sea → 🇮🇹 Rome, Italy → 🇫🇷 Marseille, France → 📬 Strasbourg, France

📮 Egyptian Photo Stores (Cairo, Egypt) → ✈️ Airmail via Mediterranean → 📬 RAACO (Strasbourg, France)
Socrates M. Scordos | Greek Levantine merchant | Bilingual English/Arabic letterhead | Airplane & monarch stamps | Estimated travel time: 2-4 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 : 1931 USA

Green's Photo Studio – Vintage USA Business Cover

This document represents a promotional mailing sent by Green's Photo Studio, a photographic studio located in Boston, Massachusetts, United States. The envelope bears the studio's printed address at 37 Tremont Street, Boston, and the postal cancellation indicates a mailing date of February 5, 1931. The contents consist of a promotional letter accompanied by a printed certificate offering a discounted photographic service.

Green's Photo Studio specialized in portrait photography. The letterhead indicates that the studio produced portraits in pastel, watercolor, and crayon styles, suggesting that photographic portraits were often enhanced or artistically retouched using traditional art techniques. During the late nineteenth and early twentieth centuries it was common for photographic studios to provide hand-colored or artistically modified portraits in order to enhance the visual appeal of photographic prints.

The letter announces a special promotional offer directed at the studio's patrons and their acquaintances. By presenting the enclosed certificate at the studio, customers were entitled to receive one dozen carbon sepia photographs at a discounted price. Carbon sepia printing was a photographic process known for its durability and distinctive tonal quality. Such prints were particularly popular in portrait photography and represented one of the premium photographic products offered by commercial studios.

According to the certificate, a dozen carbon sepia photographs that normally sold for five dollars could be obtained for two dollars and fifty cents when the certificate was presented. This marketing strategy illustrates one of the promotional methods employed by portrait studios during the early twentieth century. Discount coupons and promotional certificates were widely used in urban photographic businesses where competition among portrait studios was often intense.

The city of Boston served as an important cultural and commercial center for photographic studios during the nineteenth and early twentieth centuries. Numerous portrait studios operated within the city, particularly along major commercial streets such as Tremont Street. These establishments provided photographic services for both local residents and visitors seeking formal portrait images.

From a philatelic perspective the envelope bears a two-cent United States postage stamp corresponding to the domestic postal rate of the period. The Boston postmark indicates the routine functioning of the local postal system and illustrates how businesses distributed advertising materials through the mail. During the early twentieth century many companies relied on direct mail campaigns to promote their services to potential customers.

From a collecting perspective this document represents more than a simple postal cover. It also provides a rare example of early photographic studio marketing practices. The inclusion of both a promotional letter and a printed discount certificate enhances the document's value as a piece of commercial history. Materials of this type offer valuable insight into the economic structure of photographic services and the marketing strategies used by portrait studios.

In conclusion, this envelope and its accompanying materials illustrate how portrait photography studios promoted their services during the early twentieth century. Businesses such as Green's Photo Studio combined artistic portrait production with promotional offers in order to attract new customers. Documents like this demonstrate that the history of photography is shaped not only by technical innovation but also by commercial competition and marketing practices.

Record Information

Title: Green's Photo Studio – Vintage USA Business Cover

Category: Photographic History / Marketing & Advertising

Subcategory: Studio Practices / Promotional Ephemera

Country: USA

City: Boston, Massachusetts (37 Tremont Street)

Date of use: 5 February 1931

Studio (Sender): Green's Photo Studio, Boston. Specialized in portrait photography with artistic enhancements (pastel, watercolor, crayon). Used direct mail marketing with discount certificates.

Object Type: Promotional mailing envelope with contents (letter and certificate)

Promotional Offer: One dozen carbon sepia photographs, regular price $5.00, discounted to $2.50 with certificate.

Postal Features: Two-cent U.S. stamp (domestic rate); Boston postmark (5 February 1931).

Language: English

Material: Paper envelope, letter, certificate

Dimensions: Standard envelope format

Collection Theme: Green's Photo Studio, Boston photography, carbon sepia prints, studio marketing, promotional certificates, direct mail advertising, 1930s commercial photography, Tremont Street.

Archival Significance: This 1931 promotional mailing from Green's Photo Studio documents the marketing strategies of a Boston portrait studio. The carbon sepia offer and discount certificate illustrate commercial competition. The complete set (envelope, letter, certificate) provides rare insight into studio promotion practices. This item is a primary source for understanding the intersection of photography, advertising, and consumer culture in early 20th-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.

Date of use: 1921 USA

Kodak Park Postcard – Rochester, New York View

This postcard depicts the entrance to the main production and administrative complex of the Eastman Kodak Company in Rochester, New York, a site that played a central role in the development of the photographic industry in the United States. The image on the front shows part of Kodak Park, a large industrial campus known for its orderly layout, brick factory buildings, and carefully planned green spaces.

Kodak Park was designed not merely as a manufacturing site, but as a modern industrial campus reflecting the company's organizational structure and technical ambition. The surrounding lawns, walkways, and symmetrical architecture emphasized a sense of scale, discipline, and efficiency. Postcards such as this were widely produced to present the company's facilities to visitors, employees, and correspondents, offering a visual impression of Kodak's corporate identity.

The color printing reflects the characteristic style of early twentieth-century postcards. Originally based on black-and-white photographs, the images were enhanced through hand-coloring or semi-mechanical coloring techniques to create a more vivid and appealing appearance. This approach, common at the time, occupies a visual space between photography and illustration and represents an important phase in the history of printed imagery.

What truly distinguishes this postcard is the handwritten message on the reverse. The presence of personal correspondence transforms the card from a simple view of an industrial site into a private communication object. The sender writes from Kodak's facilities, mentions attending instructional or lecture-based activities, and outlines upcoming travel plans. This brief note suggests that Kodak Park functioned not only as a place of production, but also as a center associated with training and professional development.

English Translation of the Handwritten Message

Dear Emily,

This is Kodak's home office.
Lectures about the works are being given here.
Next week I am going to Boston for another class.
Then on to New York for an exam.

Regards to Mother and the family.
Best wishes,
Charles Cross

Regards also to Mr. K and Mrs. H.

The address indicates that the postcard was sent to Miss Emily Evelien in San Francisco. The postmark shows that it was mailed on July 11, 1921.

This personal message adds a quiet but meaningful layer to the postcard. References to education, travel, and family greetings offer small yet valuable insights into everyday life and professional mobility during the early twentieth century.

In conclusion, this postcard is a multi-layered collectible that combines industrial imagery with personal narrative. Through its front image and handwritten reverse, it brings together photographic history, corporate culture, and private correspondence, offering a modest but compelling glimpse into the visual and social world of its time.

Record Information

Title: Kodak Park Postcard – Rochester, New York View

Category: Corporate History / Visual Culture

Subcategory: Industrial Imagery / Personal Correspondence

Country: USA

City: Rochester, New York → San Francisco, California

Date of use: 11 July 1921

Company (Depicted): Eastman Kodak Company, Kodak Park, Rochester, NY. Main production and administrative complex; designed as a modern industrial campus symbolizing scale, discipline, and efficiency.

Sender: Charles Cross (attending lectures/training at Kodak Park).

Recipient: Miss Emily Evelien, San Francisco, California.

Object Type: Illustrated postcard (hand-colored / mechanically colored)

Postal Features: U.S. postage, Rochester postmark (11 July 1921), addressed to San Francisco.

Message Summary: Charles Cross describes attending lectures at Kodak, mentions upcoming travel to Boston and New York for classes/exams, sends regards to family.

Language: English

Material: Paper postcard

Dimensions: Standard postcard format

Collection Theme: Kodak Park, Eastman Kodak, industrial imagery, postcard coloring techniques, corporate identity, professional training, personal correspondence, 1920s American life.

Archival Significance: This 1921 postcard combines industrial imagery of Kodak Park with a personal message from Charles Cross. It illustrates the role of postcards in projecting corporate identity and the integration of professional training at Kodak. The handwritten note offers insight into early 20th-century mobility and education. This item is a primary source for understanding the intersection of corporate culture, visual representation, and everyday correspondence.

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.