Postcard History

When William “Bill” Ouellett wrote the introduction to his book, Fantasy Postcards, in 1975, he began by writing, “It is not far-fetched to think that a shoeboxful of old picture postcards could comprise an informal social history of their era. Though millions of these ephemeral bits of the past have fallen victim to periodic spring cleanings and world wars, enough have survived to give us insight into the transitory moments of life so captured in pictures.”

The early twentieth century saw colossal growth of interest in many kinds of novelty items, but particularly postcards. Among the many themes explored in this medium, one of the more peculiar and endearing trends was the “multiple babies” postcard craze. This phenomenon fascinated the public not only because of its whimsical charm but also as a reflection of societal attitudes toward family and childhood.

The multiple babies cards began to appear between 1904 and 1910. These postcards typically featured humorous or sweet images of groups of infants, often packaged in an array of cuteness that was irresistible to the card-sending public. The imagery ranged from innocent and playful to comically chaotic, showcasing the naive charm of childhood through a lens that combined both sentimentality and humor.

The population explosion shown in these montages occurred in the era of the big family, when procreation was considered the highest self-expression of humanity. It was the healthy outcome of lovemaking or the ultimate goal of marriage, and sometimes its premature cause. The images are not the classic cherubim which flew across cathedral ceilings, they are common urchins; those who are earthbound, hyperkinetic and generally undisciplined.

Many of the cards show the babies “arriving,” often hatching from eggs, sprouting from cabbages or rosebuds, dropped in chimneys by storks, or being delivered in baskets like produce, in short, perpetuating the convenient myths that were so often the basis of early sex education.

Just as amusing was how the babies arrived, as seedlings in clay pots was a favorite, but coming to town in a saddlebag, splashing down from a coaster car into a pond, or being floated out of a windmill usually called up a smile.

The proliferation of such cards can be attributed to several intersecting cultural trends of the period, including the rise of the middle class, advancements in printing technology, and an evolving concept of childhood itself. With improved mass production techniques, postcard printing became more accessible and affordable. As a result, these cards found their way into the hands of families in every social tier. And the depictions suggested the future in ways that had never before been imagined.

Moreover, the societal view of children during this period was undergoing a transformation. The late Victorian emphasis on strict childhood discipline began to fade, yielding a more permissive attitude that celebrated the joy and innocence of youth.

The multiple babies postcards, with their jovial depictions of infants, reflected this shift. They embodied the newfound appreciation for the playfulness, creativity, and exuberance of children while also serving to connect families through shared parenthood experiences.

The aesthetics of these postcards is another factor in their appeal. Bright colors, intricate designs, and imaginative illustrations drew attention. Often the humorous captions added an element of wit. Popular themes included babies dressed in peculiar costumes, caught in playful antics, or simply providing an overload of adorable expressions. My favorite is the All-Baby Orchestra! Card artists and publishers often played with the conventions of the time, mixing art styles that ranged from realism to whimsical caricature.

The craze also had cultural implications that went beyond mere entertainment. These postcards often conformed to the societal ideals of a large family and the benefit of always having someone to turn to in times of crisis. They personified the old adage:

More kids, more laughter, more chaos, more love!