Grundy County
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About this ebook
David A. Belden
David A. Belden is a doctoral candidate in the School of Education at DePaul University. His primary interests include local history and the early road history of Route 66 and the Lincoln Highway. He is actively involved in the collaborative digitization project between the Minooka Public Library and Minooka Community High School. Belden currently teaches various local history classes at Minooka Community High School and is an adjunct instructor at the University of St. Francis and Joliet Junior College.
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Grundy County - David A. Belden
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INTRODUCTION
The Local History Digitization Project is a collaboration between the Three Rivers Public Library and Minooka Community High School. The project is designed to increase awareness of the community’s local history and access to its historical collections by digitizing photographs from the library’s collections and making them accessible in the library and through the Internet (www.localhistoryproject.org). The scope of the digitization includes postcards, photographs, genealogical information, area maps, plat books, newspapers and clippings, church records, phone books, and school yearbooks, among others.
Many different aspects of Grundy County local history and life can be found in the picture postcards collection of the library, including school groups, businesses, sports teams, social gatherings, family photographs, public parks, homes, street scenes, and buildings. Because the history of Grundy County is so intertwined with the history of the Illinois and Michigan Canal, pictures of locks and canal boats are also part of the collection. It is these picture postcards that form the basis for this vintage postcard book. It is our intent to showcase an important component of the digitization project and, at the same time, celebrate the local history of Grundy County through postcards.
Of particular interest to us as we digitized this postcard project was the written messages found on both sides of the card. While the postcard could not serve as a medium for substantial messages, it did open a window to how people thought and communicated in the past. Longer, more intimate messages still had to be sent by ordinary, closed letters, but by the early part of the 20th century, the picture postcard became the perfect medium for short communications. When appropriate, we will attempt to include the correspondences found on the postcards in our collection. The Grundy County postcards presented in the book are generally organized according to the widely accepted chronology timeline of United States postcards. To understand our approach and how we attempted to organize the collection for publication, a brief history of the picture postcard in America will help in the understanding of how picture postcards transformed American society in the early-20th century.
Deltiology, the term used for the collection and study of postcards, is thought by many to be one of the largest collectible hobbies in the world. In fact, no hobby compares with collecting postcards in the way that it caters to everyone’s unique interests. The origins of this hobby are linked with the most interesting consumption phenomena at the beginning of the 20th century—the craze for the picture postcard. Beginning between 1895 and 1900 and fading out between 1915 and 1920, these two decades, often called the golden age of the picture postcard, changed the way people communicated. The desire for postcards seized both young and old, males and females, in the United States and in Europe, and on other continents as well. Except for the postage stamp mania, up to that time, there has never been a more ubiquitous fad for a material item.
It was not only the imagery, or the card as a picture carrier, that mattered to the public. The postcard as a physical object had two sides. The exchange and gift economy of the postcard also included the inscriptions of the sender to the addressee. Although the cards carried messages more or less void of information, they did serve as a sign of life and a reminder of the social relationships that existed in a certain place in time. Whether the postcard contains a short inscription, a delicate message, a signature, a set of initials, or an interesting address, each is a snapshot of the past—a moment, a part of social history, frozen in time. These postcards are exchanged between people who knew each other and for whom the context is known. No card is totally void of useful information; the picture, stamp, postmark, message, and address are all part of the life of two people in the past.
In order to best understand the inscriptions on the postcards, a brief background account of the United States formal postal rules and design of the card is necessary. The first private postal card was developed by John P. Charlton of Philadelphia in 1861. He obtained a copyright for the cards and later transferred it to H. L. Lipman. These early cards, decorated with a slight border pattern and labeled Lipman’s Postal Card, Patent Applied For,
were for sale on the market until 1873 when the first government postcards appeared. The United States Postal Service issued prestamped postal cards in 1873. The postal service was the only one allowed to print such cards until 1898, when Congress passed the Private Mailing Card Act that allowed private companies to produce and sell cards. Postcards printed and sold before 1898 are generally considered to be part of the pioneer era. The term private mailing card
was required to be printed on all cards not issued by the United States Postal Service. At this point, only the government was allowed to print the term postcard
on the back of the cards. All private printing firms used various terms, such as souvenir cards, mailing cards, or correspondence cards. Postcards produced from 1898 to 1901 are considered part of the private mailing card period.
Most pre-1901 postcards are characterized by an undivided back, meaning that the cards do not have a line down the center. By law, writing was not permitted on the address side of the postcard, which is why messages were written across the front over the photographs or artwork on the card. Some private postcard firms even provided a small space on the front for messages. These private mailing cards were to be posted with 1¢ stamps (the same rate as government postcards) instead of the 2¢ letter rate. The beginning of the 20th century also saw the beginning of real-photo postcards. These were postcards that had real photographs and were usually printed on a special stock paper.
In December 1901, the United States Postal Service issued Post Office Order No. 1447, which allowed, for the first time, the words post card
instead of the longer private mailing card
printed on the undivided back of privately printed cards. The period from 1901 to 1907, sometimes called the postcard period or the undivided era, saw the production and consumption of printed postcards rise. While writing was still only allowed on the front of the picture side of the card, new changes were on the horizon. Part of the attraction to postcard collecting in this era can be traced to advancements in photographic equipment, such as Eastman Kodak’s folding pocket camera, which allowed the public the ability to take black-and-white photographs and print them onto postcard backs. A metal scribe attached to the camera allowed the photographer to write a caption or comment directly onto the negative. A number of postcards used in this book have such markings.
Beginning in March 1907, postcards with a divided back were permitted.