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 "Athènes. Vendeur des fruits / Ο μανάβης" is an edition produced in Athens, as inferred from the back/verso side, where "CONSTANTINOS ELEFTHEROYDAKIS. ATHÈNES." (CONSTANTINOS ELEFTHEROUDAKIS. ATHENS.) is marked. A man, the wandering greengrocer, rests seated at a small table alongside his donkey, which carries his goods. Through his lens, the photographer captures not only the greengrocer but also a passing girl. The setting appears to be rural, with the structure in the background on the left completing the scene. This particular frame aims to highlight the simplicity of the countryside. Nature, the rural world, the countryside, and similar themes were idealized during the Romantic movement, presented as ideals in contrast to the morally inferior reality of the era, a product of urbanization. Regarding the case of America, historian Daniel Gifford notes that in challenging times, images of the rural world became a way for Americans to create an alternative narrative — one that was beautiful, healthy, and prosperous (2016).

The photograph is processed in sepia and is positioned at the center of the card, without occupying the entire front/recto side. The verso side bears the number 142 and features a unified layout with lines defining the space for the message, with the area for affixing the postage stamp located at the top right.