Discovering Riches In Your Attic Understanding The Value Of Old Post Cards And How To Cash In

Old postcards are compact time capsules: history, photography, social context, graphic art, and postal history in a few square inches. For collectors and appraisers, they offer a deep and surprisingly active market where knowledge pays. This guide walks you through identifying, dating, valuing, preserving, and selling postcards so you can determine what’s worth listing individually, what to lot, and how to achieve fair prices.

The Market For Old Postcards: Why They Still Matter

Postcards have multiple collector constituencies:

• Topical collectors (trains, aviation, holidays, disasters, Main Street scenes)
• Geographic collectors (specific towns, counties, landmarks, national parks)
• Artist and publisher collectors (Ellen Clapsaddle, Raphael Tuck & Sons, Curt Teich)
• Postal history enthusiasts (postmarks, auxiliary markings, routes)
• Photography collectors (real photo postcards with unique local views)

Because interests overlap, value concentrates where scarcity meets cross-collecting appeal. Many mid-century tourist views are common; unique real photo postcards (RPPCs), early holiday art, small-town scenes, and scarce subjects can be genuinely valuable.

Two realities to internalize:

• The floor is low. Common “chrome” tourist cards (1950s–1970s) often trade at under $2 each unless the subject is exceptional.
• The ceiling is real. Rare RPPCs, sought-after Halloween art cards, early local views, and certain postal-history pieces can bring $100–$500+, and occasionally far more.

What Makes A Postcard Valuable

Value drivers stack. The more of these your card hits, the better:

• Era and production

  • Pioneer/Undivided Back (pre-1907): Early issues; cityscapes, “Gruss aus” greetings, pioneers of the medium.
  • Divided Back (1907–1915): Golden age; many desirable RPPCs and artist-signed cards.
  • White Border (circa 1915–1930): Often scenic views; some artist and novelty sets.
  • Linen (1930s–early 1940s): Vivid, textured inks; roadside Americana, neon motels, art deco architecture.
  • Chrome (late 1930s–1970s+): Color photo offset; common, but certain subjects (early jet travel, space, rare motels) can do well.

• Format and method

  • RPPC (Real Photo Postcard): Actual photographic print on postcard stock. Unique or small-run views of small towns, disasters, railroads, aviation, occupational portraits, and street scenes are strong performers.
  • Artist-signed/illustrated: Ellen H. Clapsaddle, Samuel Schmucker, Raphael Tuck “Oilette” series, John Winsch, and other named artists/publishers draw premiums, especially for Halloween, Santa, and patriotic themes.
  • Novelty constructions: Mechanical (pull tab, moveable), hold-to-light, leather, silk, and embroidered cards bring higher prices when intact.

• Subject matter

  • Small-town “Main Street,” depots, trolleys, courthouses, bridges, mills, ethnic neighborhoods, and industrial plants.
  • Transportation: Railroads, early automobiles, aviation (airfields, zeppelins, biplanes), streetcars, ships, and canals.
  • Events: Floods, fires, parades, fairs, dedications, and disasters.
  • Holidays: Halloween (especially pre-1920), Santa Claus, Thanksgiving, Easter; spooky motifs and anthropomorphic pumpkins are particularly sought after.
  • Architecture: Early skyscrapers, hotels, roadhouses, motels with neon, diners, drive-ins, theaters, art deco landmarks.

• Geographic specificity

  • Named streets, corner views, signage, county courthouses, or identifiable businesses elevate value. Remote or small-population areas tend to be scarcer.

• Postal history

  • Desirable postmarks (territorial cancels, military post offices, early machine cancels), auxiliary markings (due, forwarded), and interesting messages can attract postal historians.
  • Stamps occasionally add interest, but do not remove them; cutting a stamp destroys value.

• Condition

  • Sharp corners, clean surfaces, unfaded color, and intact edges help. Some collectors accept minor wear, but creases and heavy toning reduce price.

• Scarcity and demand

  • Print runs varied widely. A one-off RPPC of a tiny hamlet’s depot can outvalue a famous landmark printed by the million.

How To Identify And Date Your Cards

You don’t need specialized equipment to make fast, informed estimates. Use these cues:

• Back layout

  • “Undivided back” (message and address must share the back; printed note often says “This space is for the address only”) is typically pre-1907.
  • “Divided back” arrived circa 1907 in the U.S., with a vertical line: left for messages, right for address.

• Card stock and finish

  • Linen cards have a woven texture and bright inks (1930s–early 1940s).
  • Chrome cards have a smooth, glossy photo finish (dominant after 1950).

• Real photo vs. printed

  • Under a loupe, printed half-tones show dot patterns; true photographs have continuous tone with no dots.
  • RPPC backs often show photographic paper brands (AZO, CYKO, VELOX, SOLIO). These “stamp box” designs loosely indicate timeframes. As a rule of thumb, earlier AZO configurations with upward-pointing triangles precede later mixed or dotted corners. Use a stamp-box guide for precision and treat it as one clue among several.

• Publisher and series information

  • Look for names like Raphael Tuck & Sons, Curt Teich, Detroit Publishing, Rotograph, and John Winsch.
  • Series titles and numbers matter. For example, Curt Teich numbers embed production years; identifying them can date linen cards to the exact year.

• Postmarks and messages

  • A clear postmark gives a “no-later-than” date. The content may reference events (fairs, openings) that narrow dating further.

• Size

  • Standard early cards are roughly 3.5 x 5.5 inches.
  • “Continental” size (about 4 x 6 inches) became common post-WWII; most modern reproductions follow this size too, though there are exceptions.

• Edge types

  • Deckle or scalloped edges suggest mid-20th century (often chrome era).
  • Real photo deckle edges exist; confirm by checking for continuous tone.

When in doubt, triangulate: era indicators (back layout), production type (RPPC vs. printed), publisher, and postmark together provide reliable dating.

Condition And Care: Preserve Value, Don’t Create Damage

Grading vocab varies slightly by dealer, but this is a practical framework:

• Mint: Unused, crisp corners, no flaws.
• Near Mint/Excellent: Very minor corner tip wear; clean surfaces.
• Very Good: Light corner and edge wear; small, unobtrusive marks.
• Good: Noticeable wear, small creases, or album marks.
• Fair/Poor: Heavy creases, tears, stains, trimming, or significant writing over the image.

Key considerations:

• Writing isn’t automatically bad. For some cards, an interesting message, early date, or desirable postmark can add appeal. For scenic chromes, writing is usually a minus.
• Album marks and paper residue are common. Do not peel glued cards; you risk surface loss.
• Never laminate, tape, or use liquid cleaners. Erasers can burnish and reduce value; avoid.

Preservation best practices:

• Store in acid-free, PVC-free sleeves (polypropylene or polyester) and archival boxes. Avoid PVC pages.
• Keep in a stable environment: 60–70°F, 40–55% relative humidity, away from sunlight.
• Handle by the edges with clean, dry hands. Cotton gloves are optional if you’re comfortable maintaining dexterity.
• For gentle surface dust, a soft brush works. Anything adhered should be left to a trained paper conservator if significant value is at stake.

Shipping safely:

• Use rigid mailers with additional corrugated or chipboard inserts.
• Sleeve each card; tape sleeves to the insert to prevent shifting.
• Avoid oversized packaging that invites bending; mark “Do Not Bend” but don’t rely on it—rigidity matters most.

Pricing Benchmarks And Selling Strategies

Rule one: let subject, scarcity, and condition guide you; rule two: sell the right cards individually and group the rest.

Indicative price ranges (always subject to nuance and condition):

• Common chrome tourist views (1950s–1970s): $0.50–$3 each.
• Linen roadside Americana (motels with neon signs, diners, gas stations): $3–$15; scarcer locales, $20–$50.
• Early holiday art (especially Halloween and Santa, circa 1907–1915), artist-signed: $25–$300+, ultra-rare designs higher.
• RPPC small-town Main Streets, railroad depots, real-photo disasters: $40–$200+; standout images or named small towns can exceed $300.
• Zeppelin/airship mail, scarce aviation views: $200–$1,000+, authenticity is key.
• Raphael Tuck “Oilette” and similar publisher series: $10–$60+ per card depending on subject.
• Novelty (mechanical, hold-to-light, leather, silk): $40–$250+ when complete and working.
• “Gruss aus” and pioneer city views: $10–$75+, more for unusual towns or excellent condition.

To price intelligently:

• Sort by era and subject: RPPCs and early holiday/artist cards are your first “singles” candidates.
• Identify location: small towns and identifiable streets command attention.
• Compare like with like: similar subjects, same publisher/artist, similar condition and era.

When to sell individually vs. in lots:

• Sell individually: RPPCs with identifiable scenes, artist-signed holiday cards, scarce publishers, zeppelin/aviation/railroad/disaster topics.
• Lot together: common chromes by state or topic; linen tourist views; duplicated views; condition-challenged cards.
• Preserve sets: If you have numbered series (e.g., a Tuck set), evaluate whether keeping the set intact produces a premium.

Presentation that boosts price:

• Provide sharp, color-accurate images of both front and back. Back photos prove RPPC status, postmark, publisher, and condition.
• Use specific keywords: city, county, state/province, street names, business names visible in signage, “RPPC,” “linen,” “divided back,” publisher, series number, and postmark year.
• Describe defects candidly: corner wear, creases, album marks, toning.

Choosing a venue:

• Online marketplaces reach global collectors; timed auctions can be excellent for atypical or highly desirable items.
• Specialty postcard shows and ephemera fairs connect you with dealers and focused buyers; good for rapid lot disposal.
• Local auction houses with ephemera sessions can work for larger collections; ask about photography quality and lotting strategy.
• Direct sale to a dealer provides speed and certainty at a wholesale price; get offers from more than one if possible.

Timing:

• Seasonal subjects (Halloween, Christmas) perform best a few months before the holiday.
• List rare local views when collectors in that region are active; weekends and evenings increase visibility.

Ethical and legal notes:

• Respect culturally sensitive material; provide neutral descriptions without endorsing stereotypes.
• Do not remove stamps. Both philatelic and postcard value can be compromised.
• If family history is involved, consider digitizing messages before selling.

Quick Valuation Checklist

Use this fast triage to separate winners from wallflowers:

• Is it a real photo postcard (RPPC)? Confirm with a loupe (no dot pattern) and photo paper markings.
• Can you identify the exact location or subject (street, depot, business signage, event)?
• Is the era early (pre-1920), or is it a desirable linen roadside scene?
• Is it artist-signed (Clapsaddle, Schmucker) or from a premium publisher (Raphael Tuck, Curt Teich)?
• Is the topic in-demand (Halloween, Santa, railroad, aviation, disaster, Main Street)?
• Is condition strong (sharp corners, no creases, clean back)?
• Is there a clear, interesting postmark or auxiliary marking?
• Is it a novelty (mechanical, hold-to-light, leather, silk)?
• Is the town small or obscure, increasing scarcity?
• Is it part of a complete series or set?

If you check three or more high-impact boxes (RPPC, identifiable small town, premium topic/publisher, strong condition), research for individual sale. If not, consider grouping.

FAQ

Q: Are used or unused cards more valuable? A: It depends on subject and collector type. Unused cards present better visually, but used cards can be more valuable when they have desirable postmarks, early dates, or compelling messages. For many RPPCs and holiday art cards, either can sell well if the image is strong.

Q: How do I tell a reproduction from an original? A: Red flags include modern card thickness, glossy modern coatings, barcodes, or contemporary fonts on the back. Use a loupe: modern offset reprints show uniform dot patterns even on “photo-looking” images. Originals from early periods will have era-consistent backs, publisher marks, and, for RPPCs, photographic paper names in the stamp box.

Q: Should I remove a stamp to sell it separately? A: No. Removing stamps damages the card and erases postal history value. Stamps on postcards generally have limited standalone value unless exceptionally rare; the intact piece is more desirable.

Q: Is it better to keep albums intact? A: Albums assembled around a specific town, event, or series may carry a premium as a unit. However, most mixed albums yield more when broken into singles and targeted lots. Photograph album pages before dismantling to retain context and provenance.

Q: What’s the best way to photograph or scan postcards for sale? A: Use even, diffuse light and shoot straight-on. Include both front and back. For RPPCs and detailed linen cards, scans at 300–600 dpi reveal texture, publisher info, and condition clearly, which builds buyer confidence and can lift final prices.

By understanding production eras, verifying RPPC status, pinpointing location and subject, and presenting cards clearly, you can quickly separate everyday chromes from hidden gems. With sensible preservation and a smart selling strategy—singles for scarce material, lots for common views—you’ll turn a box of attic ephemera into a well-managed, profitable collection.