Human communication has evolved through countless stages, employing a wide range of means and practices. Undoubtedly, writing—regardless of the transformations it underwent—served as a landmark in the critical process of substantiating information, a process fundamental to humanity. In the modern era, around the mid-19th century, written correspondence gained a new medium that would radically reshape the practice of sending written messages: the postcard. The unique nature of this medium lies in its printed image, which functions as an accompanying "gift" to the sender’s handwritten message. In many instances, the image itself constituted the entirety of the message, as numerous postcards were sent without any personal note. The official debut of this new medium occurred on 1 October 1869 in the newly established Austro-Hungarian Empire. Gradually, postcards achieved remarkable popularity: everybody wants to send an image they had personally picked out to a loved one. At the beginning of the 20th century, Europe was living in peace and prosperity. The "Belle Époque" was an outgrowth of previous important historical events and developments. The networks that were created and which evolved funneled both people and their products, tangible and intangible. Colonialism, revolutions, conflicts, refugee flows; the theater, cinema, sound recording, radio, photography, but also releases in all kinds of commercial channels in a world that evolved dynamically and anisotropically formed a complex network of "centers" and "peripheries" in alternating roles. It is precisely this context that allows postcards to flourish; this is their "golden age". The establishment of the "Universal Postal Union" was a catalyst for facilitating their global circulation. On October 9, 1874, the Treaty of Bern established the sending and delivery of correspondence between its members.

Continuous advancements in the technology of this new medium aimed at enhancing both its usability and appeal, in order to address it to an increasingly wider audience. The first postcards were small in size and did not contain images. Nevertheless, their convenient size, durable cardboard material, and the inclusion of the cost of postage in their purchase price were innovative features for the time that upgraded the quality of communication. One side was intended for writing the message and the other was for the dispatch details. Soon, however, the image appears, dramatically increasing their demand. The evolution of photographic technology from the 1830s onward made the "real" image sought after. Postcards make a dynamic entry into a global distribution network and serve as a catalyst in the circulation of the image, which memorializes the "local" by carrying its related social representations as far as possible. It leaves–if not seeks–space for the activation of the imaginary on the part of the recipient.

The postcard, captioned "Grèce. Type de vieux Berger" (Greece. Type of old Shepherd), is an edition produced in Athens, as inferred from the back/verso side, where "CONSTANTINOS ELEFTHEROYDAKIS. ATHÈNES.” (CONSTANTINOS ELEFTHEROUDAKIS. ATHENS.) is marked, and is numbered 47. This postcard depicts the portrait of a shepherd, who appears to be in a photography studio, specially arranged for the needs of the photoshoot. He poses for the photographer while playing a flute; a musical instrument that Romanticism elevated to a symbol of rural life, particularly that of shepherds. The printed background is simple: on the left and right of the frame there are weeds, and the subject is sitting on a rock. The scene promotes a bucolic atmosphere, capturing a moment meant to convey the life of a shepherd.

The photograph is colorized. On the front/recto side, beneath the image, there is a blank space where the caption is written. On the verso side, there is no division of the card, but there is a field for affixing the postage stamp.

The text is written in Greek, and based on the handwritten message, it is intended for domestic delivery ("Kerkyran", that is, Corfu). The date of dispatch is not mentioned.

This unique combination of information outlines the distinctive journey of an image portraying a shepherd — a figure inextricably linked to life away from the city.