Dating old letter cards
They are difficult to discern from real photos but usually don't have the glossy finish of photographs.The Laura Gilpin cards of Mesa Verde and Silverton are excellent examples of the photogravure process." When World War I ended at the end of 1918, the rate was lowered to its pre-War level of one cent. 17) that postage was raised briefly from 1 cent to 2 cents in 1917-1919 and in 1925-1928; the conclusive raise to 2 cents was in 1951.[A useful book in this regard is Joan Severas Dressed for the photographer : ordinary Americans and fashion, 1840-1900 (Kent, Ohio: Kent State University Press, 1995), GT610 .Many of the real photo postcards being done at the current time are reproductions of earlier historic photos.The easiest way to distinguish a real photo postcard is to look at it under a magnifying glass; it will show smooth transitions from one tone to another. (Britain had already pioneered this in 1902.) The address was to be written on the right side; the left side was for writing messages.Board of Directors and the introduction of a new page on the website dedicated to the recent International Shroud Conference in Pasco, Washington.I know the first edition will include, among other things, the first published fruits of Ian Wilson's extended research into the de Charney family and the first expositions in Lirey.Compiled by Todd Ellison, Certified Archivist (last revised 8/7/2006)Although the world's first picture postcards date from the 1860s to the mid-1870s, most of the earliest American picture postcards extant today are those that were sold at the World Columbian Exposition in Chicago, Illinois, starting on May 1, 1893. At this time, a dozen or more American printers began to take postcards seriously.
New printing processes allowed printing on post cards with high rag content that caused a linen-like finish.
With the advent of World War I, the supply of postcards for American consumption switched from Germany to England and the United States itself.
Most United States postcards were printed during this period.
Christopher Ramsey, Head of Oxford's Radio Carbon Center, who conceded, memorably, that in the light of the new evidence and the lack of any substantive explanation for the Shroud's image, the C14 should be looked at again.
David shared a platform with me recently, along with Bruno Barberis from Turin and former BSTS editor, Mark Guscin, at the Shroud Exhibit at the Jalsa Salana event hosted in the UK by the Ahmadiyya Muslim Community's publication,.
S42 1995 in the Delaney Southwest Research Library Reference bookcase at the Center of Southwest Studies].