Linen postcards were printed in the United States from the 1930s until the 1950s. Contrary to their descriptive name, linen postcards were not made out of linen, which is derived from flax, but they did have a high rag content, which means the paper contained a certain amount of cotton fiber. Instead, linen actually refers to the surface texture of the postcard—prior to the early 1930s, it was not economically feasible to print anything of quality on embossed papers.
Two of the key traits of linen postcards are their saturated colors, recalling the Phostints produced by the Detroit Photographic Company in the early part of the century, and their soft focus, the result of the cards’ uneven surfaces. Many linen postcards also had white borders, a stylistic holdover from the postcards published after World War I and throughout the 1920s. And while many of the artists who were popular during the heyday of the artist-signed-postcards era at the turn of the 19th and 20th centuries are not well represented in linen, most of the major postcard categories are, from comic postcards to scenics (also called “views”) to travel and lodging cards, including the popular large-letter postcards.
The foremost linen-postcard publisher was Curt Teich Co. of Chicago, which pioneered linen postcards and whose products have always been popular with collectors due to their meticulous numbering system. For example, beginning in 1929, Teich cards were numbered sequentially as D1, D2, D3, etc., and starting in 1930, these numbers were preceded by a number for the last digit of the year and a letter for the decade—in other words, A3 meant 1933, B5 meant 1945, and C1 meant 1951. Preceded these numbers and letters was the letter H, which always identified the card as linen.