Exploring The Intriguing World Of Old Postcards Appraising And Evaluating Old Postcard Values

Old postcards hold scenes, stories, and printing technologies that map the past in the palm of your hand. For collectors and appraisers, they are also a market with clear signals—era, subject, rarity, and condition—that translate into value. This guide walks through how to identify, grade, and price old postcards with confidence, whether you’re evaluating a single family album or a dealer’s shoebox at a show.

A Fast Timeline: Postcard Eras That Anchor Value

Understanding eras is the quickest way to frame age, production method, and likely ranges of value.

• Pioneer and Private Mailing Card (1893–1901): Early experimental cards in the U.S., often souvenir-view types. Scarcer but condition-sensitive.
• Undivided Back (1901–1907): Message had to be on the front; back reserved for address. Many European “Gruss aus” (Greetings from) artist and view cards fall here. Collectors prize strong subjects and colors.
• Divided Back “Golden Age” (1907–1915): Explosive production boom. Artist-signed holiday and fantasy themes, European chromolithography, and early U.S. views dominate. High collector demand for certain artists and topics.
• White Border (c. 1915–1930): Cost-saving white margins, sometimes weaker color registration. Scarcer views (small-town main streets, industry, disasters) still do well.
• Linen (c. 1930–1945): Heavily textured paper, vivid inks, often by Curt Teich (“C.T. Art-Colortone”). Common tourist scenes are inexpensive; niche subjects can be better.
• Photochrome/Chrome (c. 1940s onward): Smooth, glossy color. Most mass-market chromes are inexpensive, though early limited-distribution subjects and certain motels, signs, or regional architecture can attract specialists.

Rule of thumb: Earlier is not automatically better; demand for specific subject matter and rarity often outweighs age alone.

What Drives Value: Nine Core Factors

1. Subject matter and appeal

• Top categories: Halloween, Santa/Christmas, early aviation, automobiles and early gas stations, trains and trolleys, lighthouses, disasters (fires, floods), occupational and industrial scenes, western real-photo views, Civil War veterans reunions, ethnic and immigrant communities, sports teams, local businesses, and small-town main streets.
• Artist-signed holiday cards (e.g., Ellen Clapsaddle, Frances Brundage, Samuel Schmucker) can be strong. Handle sensitive or harmful imagery responsibly; such material exists in the market but requires care in description and ethical consideration.

2. Geographic desirability

• Scarcer views of small towns, rural industry, and early streetscapes often exceed values of big-city tourist shots. Local collectors drive demand.

3. Format and printing method

• Real Photo Postcards (RPPCs): Developed from photographic negatives onto postcard paper. Unique or short-run views can command $30–$500+, with truly rare or historically important images higher.
• Chromolithography (especially high-quality European prints) often outclass simple halftone prints. Linen and chrome have specific collector bases.

4. Rarity and supply

• Limited-distribution cards (local studio RPPCs, disaster/event issues, short-run advertising) are scarcer than mass-mailed tourist views. Publisher production numbers, where known, matter.

5. Condition and eye appeal

• Collectors prefer sharp corners, clean surfaces, and strong color. Creases, tears, heavy album marks, stains, trimming, and writing on the image side reduce value. That said, attractive postmarks and neat message text can enhance postal-history interest.

6. Postal and philatelic elements

• Early or unusual postmarks (RPO railway cancels, Doane numerals, military/ship mail, foreign transit marks), auxiliary markings, and interesting stamp frankings may add value, especially when tied to desirable subjects.

7. Publisher, series, and artists

• Noted publishers (Raphael Tuck & Sons, Valentine, Curt Teich, Detroit Publishing) and numbered series help collectors complete sets and date cards. Artist signatures matter, particularly on holiday and fantasy themes.

8. Provenance and context

• A coherent local collection with notes, captions, or album provenance can elevate interest. Cards tied to named photographers or known studios often do better.

9. Market freshness and timing

• Regional shows and local auctions may outperform national listings for hometown views. Seasonal spikes occur for holidays and travel themes.

Dating And Identifying: Quick Methods That Work

A solid appraisal starts with correct identification. Use these cross-checks:

• Back layout

  • Undivided Back (one line for address only): 1901–1907 in the U.S.
  • Divided Back (message left/address right): Introduced 1907; continued thereafter.

• Paper and surface

  • RPPC: Continuous-tone image, typically no visible halftone dots under magnification. Under angled light, you may see slight “silvering” in dark areas on older photographic emulsions.
  • Printed halftone: Evenly spaced dots visible with a loupe. Linen cards show textured weave.

• Stamp box clues on RPPCs (guide ranges; there are exceptions)

  • AZO with four triangles pointing up: c. 1904–1918
  • AZO with two triangles up and two down: c. 1918–1930
  • AZO with no triangles: late 1920s–1940s
  • VELOX, CYKO, NOKO backs are common on 1900s–1920s papers; specific typefaces and boxes help narrow dates. Combine with postmarks and subject matter.

• Publisher codes

  • Curt Teich numbers can date linen and chrome issues; Detroit Publishing numbers aid identification of early views. Series numbers on Tuck and others help verify originality and sequence.

• Postmarks and messages

  • A clear postmark sets an earliest use date. Remember: Unused cards can predate their subjects’ obvious clues (e.g., automobile models, signage), so cross-verify.

• Size

  • Standard U.S. size (~3.5" x 5.5") dominates earlier eras. “Continental” (4" x 6") is typical of later chromes and many modern reprints; some vintage continentals exist, but be cautious.

• Reprints and fakes

  • Glossy modern paper, barcodes on the back, or very bright white stock with modern photo paper branding are red flags. Authentic RPPCs show paper fiber and, under magnification, lack halftone dot patterns.

Grading, Condition, And Preservation

Adopt a consistent, conservative grading scale; many collectors use a variation of Mint, Near Mint, Excellent, Very Good, Good, Fair, Poor. Key defects:

• Corners and edges: Blunting, rounding, or dings.
• Creases and bends: Transverse creases particularly hurt value on image side.
• Surface: Abrasions, scuffs, gloss loss on chromes, silvering on RPPCs (mild silvering is common and acceptable for age).
• Stains and foxing: Tannin/brown spots lower grade.
• Album marks: “Shadow” or paper lift from old mounts; back abrasions can be severe.
• Writing: Pencil/ink on image side can be a bigger deduction than neatly penned messages on the back.

Cleaning and repair guidance:

• Dry surface dust can be reduced with a soft, clean brush. Avoid liquids or solvents; wet cleaning risks tide marks and image damage.
• Do not attempt to flatten severe creases with heat or moisture without conservation training.
• Never peel stuck cards from album pages; seek conservation advice.
• Reattaching stamp corners or “touching up” edges is restoration and should be disclosed if done.

Storage best practices:

• Use archival sleeves (polyester/Melinex, polypropylene, or polyethylene). Avoid PVC.
• Store upright in archival boxes with spacers to prevent bowing.
• Stable environment: 30–50% RH, around 65–70°F, away from light.
• Handle by edges; keep food and drink away.
• Digitize at 600 dpi or higher; record both sides.

Pricing And Appraisal: Building A Defensible Range

Postcard pricing is a function of comparables and context. Here’s a step-by-step approach:

1. Define the card precisely

• Format (RPPC/printed), era, publisher/series, subject keywords, location, and any postmark/stamp interest. Include stamp box type on RPPCs.

2. Gather comparables

• Check recent realized prices from auctions and dealer sales, not just asking prices. Seek matches on subject, location, and condition. Avoid over-weighting outlier results.

3. Adjust for condition and market

• Deduct for creases, stains, album pull, and writing on image side; add modest premiums for superior eye appeal or desirable postal markings. Consider regional demand—local venues may outperform national markets for hometown views.

4. Decide how to sell

• Singles vs. lots: Common linens and chromes usually do better in organized lots by state, theme, or road (e.g., Route 66 motels). Scarce RPPC views, early artist holiday cards, and strong small-town main streets typically justify single sale.
• Venue: Postcard shows, specialized auctions, established dealers, or broad marketplaces each have tradeoffs in fees, reach, and speed.
• Timing: List holiday subjects ahead of the season. Offer local views near local events (city anniversaries, reunions).

Indicative price bands (highly variable; condition dependent):

• Common linen or chrome tourist views: $1–$5.
• Better linen by Curt Teich with notable roadside/vernacular architecture: $10–$40.
• Divided-back printed holiday and artist cards: common $5–$25; scarcer artists/themes $50–$300+.
• RPPC small-town main streets, occupational or disaster scenes: $50–$300+, with exceptional or unique views higher.
• Early high-quality European chromolithography (notable artists/series): $25–$200+, with rarities above.

Document your appraisal with images of both sides, measurements, and notes on identifiers (publisher number, stamp box, postmark). For estates or large collections, sample across themes and eras to model expected averages, then separate likely single-sale standouts.

Care, Ethics, And Smart Selling

• Respect sensitive content: Describe neutrally and avoid celebratory language for harmful stereotypes or disaster scenes. Consider local context and platform policies.
• Catalog clearly: Title with location (City, State/Country), subject keywords, format (RPPC), era/series, and any notable postmarks or artists.
• Provide sharp scans or photos of front and back; collectors rely on backs for dating and authenticity.
• Be transparent: Disclose defects and any restoration. Misgrading erodes trust quickly in postcard circles.
• Preserve while you sell: Use sleeves and rigid mailers; do not rubber-band raw stacks. Shipping damage is preventable.

A Practical Checklist For Appraising Old Postcards

• Identify era from back layout (undivided vs divided) and paper type.
• Determine format: RPPC (no halftone dots) or printed (dots/linen texture).
• Read the stamp box (AZO/VELOX/CYKO) for date range.
• Note subject keywords and exact location; small towns matter.
• Check publisher/series and any artist signatures.
• Inspect condition under good light; record all flaws.
• Look for postal interest: unusual postmarks, rates, auxiliary markings.
• Search comparables by subject, location, and condition; use realized prices.
• Decide single vs lot; match venue to material.
• Store and ship in archival sleeves and rigid mailers.

FAQ

Q: Are unused postcards worth more than used ones?
A: Not inherently. Many collectors value postally used cards for dated postmarks, routes, and messages. For artist holiday cards and clean chromolithographs, unused examples in excellent condition can bring premiums. Context and condition decide.

Q: How do I tell if a postcard is a real photo postcard (RPPC)?
A: Under magnification, RPPCs show continuous tone without halftone dots. Look for photographic paper branding in the stamp box (AZO, VELOX, CYKO), slight silvering in dark areas, and a more photographic surface sheen compared to printed cards.

Q: My card has writing on the front. Does that ruin the value?
A: It depends. On undivided back cards (pre-1907), front writing was required and is expected. On later cards, large inked notes on the image can reduce value, but a neat, interesting message on the back may add postal-history appeal.

Q: Should I try to clean or flatten creased postcards?
A: Avoid wet cleaning or heat/pressure flattening; these can cause permanent damage. Light surface dusting with a soft brush is safe. For stuck album mounts or severe creases, consult a paper conservator.

Q: Do stamps on the card affect value?
A: The stamp itself rarely drives value unless a scarce issue is tied to the card with a desirable cancel. More often, the postmark type, date, and route add value to an otherwise collectible subject.

By learning to read era cues, weigh subject desirability, grade accurately, and confirm with comparables, you can appraise old postcards with precision. The best results come from careful identification, honest descriptions, and respectful handling—turning small rectangles of paper into well-documented pieces of cultural history.