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F - PUBLISHERS
John T. Faber (1907-1910)
A noted publisher of Milwaukee view-cards in tinted halftone. These German made cards were printed with a crisp RGB pallet.
Farben Photographische Gesellschaft m.b.H.
See Color Photographic Society, Ltd.
S.C. Fagard (1902-1908)
A publisher of view-cards in black & white and monotone collotype as well as in tinted halftone. While he published a variety of local views most of his imagery was focused on Niagara Falls. In addition to postcards Fagard also printed sheet music and sold souvenirs.
Family Dog Productions 1966-1970
Founded by Chester Leo (Chet) Helms at the hippie commune known as the Family Dog House to promote concerts at the Fillmore auditorium and later the Avalon Ballroom. During 1966 and 1967 he employed many different illustrators, including Rick Griffin, Alton Kelley, and Stanley Mouse to create posters, handbills and oversized postcards to promote concerts. Much of this work is considered the height of the psychedelic style. The Family Dog name was occasionally associated with concerts up to the mid-1990’s.
The Fatherland 1914-1917
A weekly magazine founded to express the German position on the war in Europe in a sea of pro-British journalism. In 1915 they published a set of four line block postcards printed in red, blue, and black, illustrated by A. Staehle. They were designed to to expose “the inhuman traffic in arms and ammunition carried out by the United States” and expose the hypocrisy of America’s proclaimed neutrality. The production of these cards are a good example of the esteem held by printed matter at this time in its ability to influence public opinion. The publishers name is not shown on these cards and few knew at the time that the magazine received funding directly from the German Government. Just before the United States declared war on Germany the magazine changed its name to The American Weekly.
C.W. Faulkner & Co., Ltd. 1885-
An important publisher of games, pictorial souvenirs, children’s books, and postcards. Faulkner was originally in the Christmas card business along with Albert Hilder Scheimer. Though they worked as lithographers they also began printing in gravure in 1882. In 1885 their partnership ended with Faulkner taking over the business. He changed the company name in the 1890’s, and became a Limited company in 1905. While they printed a wide variety of card types, they are best known for their early black & white view-cards paired with a coat of arms, real photo cards of actresses, artist signed cards by Louis Wain, and propaganda cards issued during World War One. Many of their cards were printed in Germany and Austria.
Feathered World (1898-)
A monthly magazine with international distribution concerning fancy pigeons and exhibition poultry. The firm also published the magazine Canary & Cage Bird Life. They issued many free trade cards from which images were taken to produce postcards.
Federal Engraving and Publishing Co. (1905-1906)
Printed and published view-cards of eastern Massachusetts. Their early cards were made as black & white multi-views while later cards were printed in photo-chromolithography with a very bright pallet.
Ludwig Feist (1900-1919)
A publisher of a wide variety of card types depicting views of regional scenes and Palestine. Most of his early cards tend to be made as chromolithographs while later cards were issued as hand colored collotypes.
Reproduced the New York etchings of Bernhard Wall on postcards in halftone lithography. There are many scenes of Greenwich Village within the series.
L. Ferid (1916-1920’s)
A photographer operating in the French Mandate of Syria formed after the fall of the Ottoman Empire. In addition to souvenir booklets Ferid published and black & white and brightly hand colored postcards in collotype.
Gotthard Ferrari, Jr. (1848-1932)
A book publisher who began producing view-cards of local scenes. Most of these photo-chromolithographic postcards seemed to have been printed in a limited number of years following World War One.
A. Figl & Co. (1906-1912)
A publisher of many local view-cards. They were produced as black & white, monotone, and tinted collotypes.
Fine & Coulson 1907-1927
After pharmacist Ebeb G. Fine opened up shop his stepson joined the firm and they became Fine & Coulson. Fine had taken up photography as a hobby to keep himself active outdoors. His membership in hiking clubs took him further afield and he captured many mountain scenes. Fine became an important promoter of Boulder through the postcards he published and lectures he gave. Many of his postcards were real photos, which were often hand colored. He also produced black & white and hand colored collotypes of his work through the Albertype Company. With aid from the local railroad he spent much time touring the south and mid-west promoting Boulder. While Fine died in 1957, his pharmacy closed in 1927.
Fine Art Studio (1930’s)
A publisher of gravure postcards that take on the appearance of original etchings. These cards were so carefully reproduced they can easily be mistaken for hand colored etchings even though the original work these cards were based on were most likely drawings. They come complete with a dirty plate mark and rough paper edges imitating a fine art etching. They are usually hand titled in pencil below the image.
Paul Fink (1899-1905)
A fine art printer that produced many elaborate view cards, including Gruss aus. While many of Finks postcards were made either in chromolithography or as collotypes, he also often incorporated embossing and combined different printing techniques on singe cards.
Paul Finkenrath, Ltd. (PFB) 1901-1911
Founded as Aug. Finkenrath & Son in 1875. They were lithographers specializing in packaging and posters, though they latter called themselves fine art printers. Around 1896 they began producing Gruss Aus postcards along with art reproductions and advertising cards. The following year, with Paul Finkenrath now running the business, they opened a branch in Berlin. In 1898 he took on a new partner, Paul Grasnick, and the firm became Finkelrath & Grasnick that largely produced view-cards. This partnership lasted less than a year when Grasnick left to set up his own shop in Berlin. In 1901 Finkenrath became a Limited company and took on two new partners, Sigmund Oettinger and Paul Schimpf, though the firm kept the Paul Finkenrath name. They began publishing comic and illustrated cards for the American market with a substantial increase in quality after 1904. Many of these cards incorporated embossing and bronzing which he termed Radiol. The firm also produced many high quality chromolithographic view-cards and greetings over the years. Most of their artwork was produced by artists that remain unknown to us, but they also used notables such as Catharina Klein. In 1910 this partnership broke up with Schimpf taking over the printing operations. Finkenrath turned his interests to designing washing machines. With a very large exposure in the American market, they were badly hurt by increasing tariffs and were out of business by 1911.
Otto Fischer 1905-1910
A publisher of black & white and hand colored collotype postcards.
Fischgrund Publishing Co. (1930’s-1960’s)
Eugenio Fischgrund’s company was a leading publisher of books, maps, prints, Christmas cards, and postcards. They are best known for their many art cards depicting the works of the Mexican muralists such as Diego Rivera and the works of the painters Miguel Gomez Medina and Raphael Martinez. They also published view-cards, cartoons, and a unusual series of Mexican folk art designs printed on tree bark. These cards were distributed throughout Mexico.
Louis Marquez was a well known photographer of Mexican types who hand tinted many of his own photographs. In the mid 1930’s Fischgrund turned 96 of these images into art postcards as part of the Arco Iris series. This process printing method created soft dry looking images somewhere in between the appearanece of a autochrome and an early photochrome.
Fischgrund was one of the first Mexican publishers to start producing photochromes. In 1950 Fischgrund began producing continental size cards that were printed in France with the Mexichrome logo on them. But by 1954 Helio-Mexico began printing their cards back in Mexico and they soon reverted back to standard size.
In the late 1950’s they started producing their cards from print film rather than transparencies. These cards were printed by Litho Offset Sanchez in New York and carried the Marcolor logo.
$5 Photo Co. (1933-1968)
A photo studio founded by photographer Dwight Church. While he produced many standard real photo postcards of western Massachusetts and the Adirondack region, he is best known for the views produced from his aerial photo business. It had been thought that he gave up this portion of his work after he crashed his plane, but apparently he continued to take aerial shots throughout his career if at a slower rate. For publicity he traveled around in a car designed to look like a roll of film. He is known to have other quirks such as his affinity with abbreviation, examples which appear on everything from his card titles to the name of his Photo Park Studio from which they were sold. Dwight died in 1974 and his unique studio was demolished in 2003.
Fletcher & Co. (1913-1926)
A photo studio that published real photo postcards depicting scenes in the region around Vermont. Fletcher’s name appears on the backs of these cards. Some of his photographs were also printed as white border cards by the Valentine-Souvenir Company.
A publisher and major distributor of rack cards. Their cards are well designed for promotion usually incorporating images of women. The text on these cards can be found in both English and Russian. The words Not For Sale are placed within their stamp boxes and all cards are numbered.
Forbes Lithograph Mfg. Co. 1863-1960
At the age of twelve, William H. Forbes became a lithographerÕs apprentice at the shop of Thomas Strong after emigrating to New York from Liverpool, England in 1848. In 1861 he moved to Boston where he formed a brief partnership with Otto B. Graves and Thomas D. Johnson to hand print labels. By 1863 he formed a new company under his own name, and expanded into printing music covers and posters for the theatre. After moving to new facilities on Devonshire Street he changed the firms name to Forbes Lithograph Manufacturing Company in 1876. In the 1880Õs he became famous for his chromolithographic product labels and trade cards. Demand for his work was so great that he moved to a larger factory in Chelsea in 1884. By now he was advertising that he could produce printing executed by all known methods. While they printed a wide range of products, there is little known about their connection to postcard production. In 1960 the firm was purchased by the Diamond National Corporation.
Ford Motor Co. 1903-
This company’s innovative production line methods gave it an edge over much competition and it quickly became America’s leading automobile manufacturer. Large efforts were made by Ford to promote their products outside of the normal range of advertising. They published a magazine, Ford Times, between 1908 and 1993, which was accompanied by the publication of many postcards. A noted artist signed card set is the Ford Booster Comic that illustrated Ford vehicles outperforming their competition in a number of humorous situations.
Foto Seal Co. (1938-1959)
A publisher of real photo view-cards that mostly depicted scenes of New York City. These cards were often issued in sets that were sold in souvenir packets.
Fortier Photo 1899-1928
Edmond Fortier was a photographer of African types, nudes, views, and military subjects, who turned many of his images into black & white postcards. He first moved to Saint-Louis after leaving France, but opened a shop in Dakar after 1905. While most of his images are of Darkar he traveled throughout French West Africa including the Ivory Coast, Dahomey, French Guinea, Mali, and Mauritania. He eventually opened branches in Sierra Leone, Lagos, and Paris. Around 1910 he gave up photography but continued to published postcards from his extensive negatives. In all he produced about 8,200 different cards. After Fortier died in 1928 all of his negatives disappeared. Pablo Picasso is known to have owned a large collection of his postcards. It is though they they may have been one of the influences that led to his development of Cubism.
L.A. Foster Photo Co. (1908)
Produced real photo postcards of scenes from the northern Great Plains. Some cards suffer from crude retouching work.
Foster & Reynolds (1895-1915)
Though Charles Bingham Reynolds was born in the Bronx, New York, his family settled down in St. Augustine, Florida. He moved to Brooklyn in 1879 where he became editor of Forest & Stream magazine. During these same years he teamed up with George Bird Grinnell to establish the Audubon Society. Reynolds also wrote a number of guidebooks on Florida and Cuba from the late 1880’s, onward.
Ward G. Foster of Washington, DC owned a travel agency called Ask Mr. Foster. He teamed up with Reynolds in 1895 to produce additional guides, but they would also become early publishers of postcards under the Foster & Reynolds name. While their Florida view-cards were sold from Cordova Corner in St. Augustine, many other view-cards depicting Washington were sold from Foster’s National Remembrance Shop on 14th Street in DC. Their views were later published under the name B.S. Reynolds. In 1915 Reynolds retired to Mountain Lakes, NJ.
Produced artist signed printed postcards in their early years but they are primarily known for publishing real photo cards, some with hand coloring. They may have had offices in additional cities. Their cards were manufactured in Italy.
F. Frankel & Co. (1904-1916)
A publisher of comic and view-cards depicting scenes throughout Great Britain. Some of these German made hand colored halftone postcards were issued under the Star Series name.
Lorenz Franzl (1910-1922)
A photographer who published postcards of views and types of the Alps primarily in photo-chromolithography. Someone with the same name who produced similar work was based in Bolzano but it is uncertain if they are the same person.
Frankfurt Institute of Photolithography (1990’s-1903)
Printed fine color and black & white view-cards among other items in an advanced form of collotype sometimes referred to as lichtdruckanstalt.
Franklin Post Card Co. (1908-1915)
A major publisher of tinted halftone postcards depicting Chicago. They were printed in Germany.
L. Franzl & Co. (1901-1907)
A publisher of boldly colored chromolithographic artist signed view-cards. They also produced postcards for the Barnum & Bailey Circus tours of Europe.
Frasher’s, Inc. (Frasher’s Foto Co.) 1920-1955
Published real photo postcards of Western views and Native Americans by the photographer Burton Frasher, Sr. After years of traveling while working in the fruit packing industry, he and his wife Josephine opened a photo shop in La Verne, California in 1914. Six years later he moved to Pomona where he expanded his studio by selling stationary, gifts, and postcards. Frasher went to great lengths to find images for his real photo postcards. He traveled down into Death Valley and up to Mt. Whitney, and the remote regions of Colorado, Arizona, and New Mexico when they were all still largely unassessable by roads. By the 1930’s he began reproducing his images as printed linens manufactured by Curt Teich allowing national distribution. In 1949 a notable set of 25 printed cards of the Gold Country were issued for the California Centennial. Afterwards he discontinued printing cards in order to concentrate on the production of his real photo postcards, though about 160 views were later published as photochromes printed by H.S. Crocker and the Koppel Company. His son Burton Frasher, Jr. continued to sell his father’s postcards after his death in 1955.
John Fredriksons (1905-1908)
A publisher of lithographic postcards depicting views and types. Many of his cards were artist signed from notables such as Jenny Nystrom.
Harry Whittier Frees 1902-1953
An animal photographer who created images for calendars, books, and postcards. Frees began to pose dressed animals in 1905, and because of their popularity they became his signature work. He became a staff animal photographer for the Rotograph Company and he supplied photos for many other postcard publishers. His work was very popular in both the United States and in Europe.
S. Freund & Co. (1901-1917)
A publisher of postcards from earl;y chromolithographic Gruss aus views to Field-post cards in halftone lithography. Some of their early cards are oversized.
E. Frey & Co. (1903-1906)
A publisher of view-cards in tinted halftone depicting scenes from New York to Puerto Rico.
Francis Frith & Co. 1890-1970
Francis Frith had been producing photographs since 1850 depicting scenes from Great Britain to the Middle-East. While these early images were originally published in book form, the company began to print hand colored collotype postcards when his sons took over the business after Francis’ death in 1898. As the company went on to hire additional photographers adding to to Frith’s 40,000 negatives already in stock, it grew into the world’s largest photo studio. Photos from 1896 to 1940 are numbered 18521 to 81559. Later images have a letter prefix that corresponds to a specific location. A few artist signed cards and comics were published in addition to the vast amount of view-cards printed from their photos. Their cards are often difficult to date as many of the images from the 19th century continued to be printed until the company closed in 1970. Frith issued about 75,000 different titles.
Fritz Studio (1905-1910)
A photo studio that produced cabinet cards and a great number of portraits as real photo postcards.
Max Fruchtermann 1895-1966
A photographer who was the first to create postcards depicting the Ottoman Empire. Orientalism was still in vogue when Fruchtermann began creating cards and his depictions became very popular. His early postcards are hand colored but he began to produce photo-chromolithographic cards in 1897 that were printed by Emil Pinkau. In addition to his view-cards he produced a large series of figure studies and types in native costume. The disruption of the First World War caused his bankruptcy and he died in 1918. His son Paul continued to run his postcard shop until 1966 when the entire remaining inventory was sold off.
J.S. Fry & Sons 1822-1919
Joseph Fry, owner of a apothecary shop began making chocolate after purchasing a recipe for it in 1759. The business went under a number of different names until his son Joseph Storrs took over and named it J.S. Fry & Sons in 1822. They are attributed to have manufactured the first commercial chocolate bars and Easter eggs. They produced all sorts of material for advertising purposes including lithographic postcards when they became popular. Some cards displayed images of their factory including interiors views but most cards were of the artist signed variety drawn by notable illustrators of the day such as Tom Brown, John Hassell, and Charles Pears. Some of these images were later reproduced by other publishers such as Raphael Tuck. In 1919 they merged with Cadbury’s to become the British Cocoa & Chocolate Company.
Fukuda Card Co. (1950’s-1960’s)
A publisher of books and postcards. Their cards, produced in offset lithography and as Fuku Color photochromes were made in Japan . They did work for the Japanese Travel Bureau and their cards were designed for a duel audience with titles printed in both English and Japanese.
R.O. Fusslein (1905-1910)
A publisher of tinted collotypes and real photo postcards depicting views of South Africa and Transvaal. He also produced many postcards of types and of the mining industry.
Art Institute Orell Fussli, Ltd. 1890-1999
An old and important printer, publisher and book seller operating since 1519. Under the name Orell Fussli & Cie they became one of the first companies to ever print securities and stamps. In 1886 a photo-chromolithography process they called Photochrom was developed by Hans Jakob Schmid in Switzerland and patented in Austria in 1888. Soon after they began to issue stock as a limited company, which was renamed Art Institute Orell Fussli. While they published postcards under this name, they also set up a subsidiary, Photoglob, to exclusively print pictorial materials including postcards by means of the new Photochrom process. This unique process was selectively licensed out to other printers. In 1999 they restructured into Orell Fussli Holding AG.