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| Left, A typical seaside postcard Right, A typical "saucy" postcard by Donald McGill |
The initial appearance of picture postcards (and the enthusiasm with
which the new medium was embraced) raised some legal issues. Picture
postcards allowed and encouraged many individuals to send images across
national borders, and the legal availability of a postcard image in one
country did not guarantee that the card would be considered "proper" in
the destination country, or in the intermediate countries that the card
would have to pass through. Some countries might refuse to handle
postcards containing sexual references (in seaside postcards) or images
of full or partial nudity (for instance, in images of classical statuary
or paintings).
In 1894, British publishers were given permission by the Royal Mail to manufacture and distribute picture postcards, which could be sent through the post. The first UK postcards were produced by printing firm Stewarts of Edinburgh and early postcards were pictures of landmarks, scenic views, photographs or drawings of celebrities and so on. With steam locomotives providing fast and affordable travel, the seaside became a popular tourist destination, and generated its own souvenir-industry.
In the early 1930s, cartoon-style saucy postcards became widespread, and at the peak of their popularity the sale of saucy postcards reached a massive 16 million a year. They were often bawdy in nature, making use of innuendo and double entendres and traditionally featured stereotypical characters such as vicars, large ladies and put-upon husbands, in the same vein as the Carry On films. In the early 1950s, the newly elected Conservative government were concerned at the apparent deterioration of morals in Britain and decided on a crackdown on these postcards. The main target on their hit list was the postcard artist Donald McGill. In the more liberal 1960s, the saucy postcard was revived and later became to be considered, by some as an art form. However, during the 1970s and 1980s, the quality of the artwork and humor started to deteriorate and, with changing attitudes towards the cards' content, the demise of the saucy postcard occurred. Original postcards are now highly sought after, and rare examples can command high prices at auction. The best-known saucy seaside postcards were created by a publishing company called Bamforths, based in the town of Holmfirth, West Yorkshire, England.
Despite the decline in popularity of postcards that are overtly 'saucy', postcards continue to be a significant economic and cultural aspect of British seaside tourism. Sold by newsagents and street vendors, as well as by specialist souvenir shops, modern seaside postcards often feature multiple depictions of the resort in unusually favorable weather conditions. John Hinde, the British photographer, used saturated color and meticulously planned his photographs, which made his postcards of the later twentieth century become collected and admired as kitsch. Such cards are also respected as important documents of social history, and have been influential on the work of Martin Parr.
In 1894, British publishers were given permission by the Royal Mail to manufacture and distribute picture postcards, which could be sent through the post. The first UK postcards were produced by printing firm Stewarts of Edinburgh and early postcards were pictures of landmarks, scenic views, photographs or drawings of celebrities and so on. With steam locomotives providing fast and affordable travel, the seaside became a popular tourist destination, and generated its own souvenir-industry.
In the early 1930s, cartoon-style saucy postcards became widespread, and at the peak of their popularity the sale of saucy postcards reached a massive 16 million a year. They were often bawdy in nature, making use of innuendo and double entendres and traditionally featured stereotypical characters such as vicars, large ladies and put-upon husbands, in the same vein as the Carry On films. In the early 1950s, the newly elected Conservative government were concerned at the apparent deterioration of morals in Britain and decided on a crackdown on these postcards. The main target on their hit list was the postcard artist Donald McGill. In the more liberal 1960s, the saucy postcard was revived and later became to be considered, by some as an art form. However, during the 1970s and 1980s, the quality of the artwork and humor started to deteriorate and, with changing attitudes towards the cards' content, the demise of the saucy postcard occurred. Original postcards are now highly sought after, and rare examples can command high prices at auction. The best-known saucy seaside postcards were created by a publishing company called Bamforths, based in the town of Holmfirth, West Yorkshire, England.
Despite the decline in popularity of postcards that are overtly 'saucy', postcards continue to be a significant economic and cultural aspect of British seaside tourism. Sold by newsagents and street vendors, as well as by specialist souvenir shops, modern seaside postcards often feature multiple depictions of the resort in unusually favorable weather conditions. John Hinde, the British photographer, used saturated color and meticulously planned his photographs, which made his postcards of the later twentieth century become collected and admired as kitsch. Such cards are also respected as important documents of social history, and have been influential on the work of Martin Parr.
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