This vintage real photo postcard features the Huntington Town Hall located on Main Street in Huntington village. Huntington is a north shore town on Long Island in the state of New York. Note the old cars in the photo. Because the newest cars in the image appear to date from about 1938–1940, the photograph itself was likely taken around 1939–1941. The postcard was published by the Tomlin Art Company (Northport, Long Island, New York). The company produced a large number of scenic postcards of Long Island and nearby areas. The firm was associated with Milton (“Milt”) Price, a photographer from Islip, New York, who owned and operated the Tomlin. Price himself photographed many of the scenes that appeared on the cards. The firm appears to have been active between circa 1910 and the late 1970s. There is a very light crease in the top left corner of the card. The postcard is in overall very good condition (see scans).
This postcard is available for purchase at my store, The History Peddler, for $9.85 or best offer
This early 20th-century lithographic postcard offers a fascinating window into American industrial history. The scene depicted shows the Welsbach Factory in Gloucester, New Jersey, where women are seated at long wooden worktables manufacturing gas mantles for railroad car lighting. These mantles were used in Welsbach gas lamps, which produced brilliant light before the widespread adoption of electricity. The image—clearly a lithographic print rather than a real photo—shows dozens of women, most dressed in white blouses and long skirts, working with concentration under bright overhead lighting. One woman is seen turning a crank on a mechanical device, while others place mantles in organized rows. The factory setting is clean, orderly, and filled with wooden furniture, boxes, and workstations. Several men are visible supervising or moving through the workshop. This undivided-back postcard carries the printed caption: “Welsbach Factory, Gloucester, N.J. Making Mantles for Railroad Car Lighting.” On the reverse side, a vertical promotional message from the Welsbach Company reads: “Our salesman will call upon you on or before _________ Welsbach Company.” This clearly identifies the postcard as a business advertising card, likely distributed by Welsbach to customers or wholesalers as part of their sales strategy. This postcard is postmarked 1907, which falls in the final years of the undivided back era in U.S. postcards (1901–1907). It features a green BenFranklin one-cent stamp, consistent with domestic postcard postage at the time. The card’s message and address are both written on the front, as was standard practice before divided backs were permitted for message writing. The Welsbach Company, founded in the late 19th century, was named after Carl Auer von Welsbach, an Austrian chemist and inventor of the gas mantle. The Welsbach Company became one of the primary manufacturers and distributors of these mantles in the United States, with major production facilities in Gloucester, NJ. The Gloucester plant employed many women and helped revolutionize gas lighting for residential, industrial, and transportation use—especially in street lamps and railway cars. Welsbach mantles used rare earth elements to produce an intense white glow when heated by a gas flame. The company played a key role in the history of gas illumination before the electrical grid became dominant. (SOLD)
This rare vintage lithographic postcard captures vaudeville history as well as the restaurant and entertainment history of New York City. The postcard is an advertisement for the appearance of the Gardiner Trio at the venue of Churchill’s restaurant. The Gardiner trio was composed of Arline, Helen, and Edgar Gardiner. The three performers acted, danced and sang on the vaudeville stage. The trio even appeared on Broadway in the production of “Take it from Me” (1919). The New York Tribune reviewed the show. Here are a few excerpts from the review. The show was described as “mildly entertaining” and “a curious jumble of Burlesque, Vaudeville and Musical Comedy”. The production ran from 3/31/19 to 6/21/19 at the Central Theater. Now, a short description of Churchill’s Restaurant. The establishment blended restaurant service with live entertainment. It was located in Manhattan’s theater district. The restaurant was in Times Square and was founded by James “Big Jim” Churchill, a colorfull New York figure who had previously served about twenty years in the New York Police Department. He established Churchill’s in around 1909 or 1910. The restaurant/cabaret closed in around 1921. Prohibition was a large contributor to the restaurant’s demise. This postcard is in fair condition. The card has corner and edge wear and about four light creases can be seen on close examination. The fair condition does not detract from either the image of the trio or from the advertising copy on the front of the card (see scans). My research was unable to find any other examples of postcards advertising either Churchill’s or the Gardiner Trio. This postcard is an excellent illustration of both New York City and Vaudeville history.
This cabinet card is available for purchase at my store, The History Peddler, for $24.85
This attractive vintage French postcard features a hand-colorized portrait of a young woman — her hair softly waved, her features delicate, and her expression warm and gentle. She tilts her head slightly and raises one arm, resting her hand near her ear, holding a rose (colorized in vivid pink) against her cheek. The soft hand-tinting gives the card a dreamy, romantic feel: gentle blush on her cheeks, subtle color in her lips, and pastel tones in the background. The fashion and style — the wavy hairstyle, the jewelry, and the sitter’s graceful pose — evoke early 20th-century glamour. In the upper right of the image side appears the gilded greeting “Bonne Année” — a New Year’s wish, adding charm and purpose to the card. The card’s publisher imprint in the lower left reads SUBAR 155-PARIS. The reverse carries a handwritten message and address in French (see translation). “Best wishes and greetings — Marthe”. The card is marked “SUBAR 155-PARIS.” Unfortunately, I was unable to locate reliable reference material definitively describing a postcard house named “SUBAR.” That said, the card’s style — hand-colored portrait, gilded greeting, Paris imprint — is consistent with many small-scale French postcard producers from the pre-WWI and interwar periods, when dozens of modest workshop-publishers issued commemorative and greeting cards for domestic distribution.(SOLD)
This vintage real photo postcard features American actress, Lillian Gish (1893–1993). She is considered one of the pioneering figures in early cinema. Born in Springfield, Ohio, Gish began her career on the stage alongside her sister, Dorothy, but soon transitioned to film, where her delicate features and expressive acting made her a favorite of directors during the silent film era. In 1912, Gish joined legendary director D.W. Griffith, becoming his protégé and collaborating with him on groundbreaking films like The Birth of a Nation (1915), Broken Blossoms (1919), and Way Down East (1920). These films cemented her reputation as a leading lady, often playing roles that emphasized innocence and emotional depth. She was known for her meticulous attention to the art of acting. She helped establish the art of screen acting, emphasizing subtlety and naturalism at a time when film was still evolving away from theatrical exaggeration. She was a versatile actress, adapting well to various roles, from delicate heroines to more complex characters, and her commitment to authenticity often saw her enduring extreme conditions on set, like filming in freezing temperatures and performing her own stunts. When silent films gave way to “talkies” in the late 1920s, Gish transitioned gracefully, though her popularity declined as she aged and Hollywood’s focus shifted to younger stars. Still, she continued acting, taking on character roles and even appearing on television. One of her most memorable later performances was in The Night of the Hunter (1955), a film now regarded as a classic. In addition to her acting career, Gish became a vocal advocate for film preservation and the legacy of silent cinema. She gave lectures on the subject. Her work won her numerous accolades, including an honorary Academy Award in 1971, and she remained active in the industry well into her later years. Gish’s career spanned over 75 years, and she is remembered as an icon who bridged the silent and sound eras, leaving an indelible impact on American cinema. Lillian Gish, though a public figure, led a private and often solitary personal life. She was born on October 14, 1893, in Springfield, Ohio, to James Leigh Gish and Mary Robinson McConnell. Her early life was marked by hardship; her father abandoned the family when she was young, leaving her mother to support Lillian and her younger sister, Dorothy. Her mother opened a candy store in New York City, where the family eventually settled, and the two sisters began acting in theater to help support the family financially. Lillian and Dorothy were close throughout their lives, frequently working together in theater and film. Lillian took on the role of family protector and provider from a young age. Though she later became one of the most celebrated actresses of her time, Lillian remained deeply committed to her family, often prioritizing family relationships over romantic entanglements. She never married and had no children, believing that marriage and family life might interfere with her career. However, she did have close friendships with several prominent figures in Hollywood, including her frequent collaborator, director D.W. Griffith, with whom she shared a professional and deeply loyal relationship. There were rumors of a romance with Griffith, though Gish maintained that their relationship was strictly professional. Other rumored suitors included producer Charles Duell and critic George Jean Nathan, yet she largely avoided the spotlight when it came to romance. She valued independence and often expressed a desire to avoid the constraints she felt marriage could impose on her creative pursuits. In later life, she lived with her sister Dorothy until Dorothy’s death in 1968, a loss that deeply affected her. In her final years, Gish continued to work in the entertainment industry and to honor the legacy of silent cinema. She died in 1993, at the age of 99, leaving behind a remarkable career and a life dedicated to her art, family, and the preservation of film history. This postcard portrait was taken sometime between 1908 and 1920 (likely near the earliest years). The logo for Metro Goldwyn Mayor Films can be seen in the lower right corner of the image. This postcard was published by “Europe”.The EUROPE logo enclosed within a circle was used by a continental European postcard publisher, most likely operating in France, during the 1905–1925 postcard boom. The circle logo functioned as a series trademark, identifying postcards produced or distributed under the “Europe” brand. Europe was primarily a publisher or distributor, not necessarily the photographer. This postcard is in good condition. There is surface wear on the front and reverse of the card. The image itself is clear with good contrast. See scans.
This cabinet card is available for purchase at my store, The History Peddler, for $9.85
Mary Pickford (1892-1979) was a Canadian-American actress and one of the most influential figures in early Hollywood. She was often referred to as “America’s Sweetheart”. She was a pioneer of silent film and a co-founder of the film industry as we know it today. Pickford’s career began in childhood when she performed in theater productions in Canada and the United States. By the early 1900s, she transitioned to film, working with director D.W. Griffith at Biograph Studios. Her delicate beauty and expressive acting quickly made her a fan favorite, setting her apart in an era when exaggerated stage-style performances dominated silent films. During the 1910s and 1920s, Pickford became one of the highest-paid and most beloved actresses in the world. Starring in films such as Rebecca of Sunnybrook Farm (1917), Daddy-Long-Legs (1919), and Pollyanna (1920), she was known for playing wholesome, spirited young women. Her curly hair and signature on-screen innocence became iconic, but she was also a savvy businesswoman who understood the power of her brand. Pickford was not only a star but also a trailblazer in the film industry. In 1919, she co-founded United Artists alongside Charlie Chaplin, Douglas Fairbanks (her then-husband), and director D.W. Griffith. This revolutionary move allowed filmmakers to control their own productions rather than rely on major studios, changing the industry forever. As the film industry transitioned to “talkies,” Pickford retired from acting in the early 1930s, though she continued to produce films. Her contributions earned her an honorary Academy Award in 1976 for her lasting impact on cinema. Mary Pickford’s influence extends beyond her films. She helped shape the star system, paved the way for women in Hollywood, and co-founded the Motion Picture Relief Fund to support struggling actors. She remains an enduring symbol of early Hollywood glamour and innovation. Mary Pickford was born into a working-class family in Toronto, Canada. Her father, John Charles Smith, was an alcoholic who struggled to provide for the family and died from a workplace accident when Mary was just six years old. Her mother, Charlotte Hennessey Smith, was left to raise Mary and her two younger siblings, Lottie and Jack, on her own. To support the family, Charlotte encouraged her children to enter acting, and Mary began performing in theater at a young age. She soon became the family’s primary breadwinner, and her siblings, Lottie Pickford and Jack Pickford, also pursued film careers. Pickford transitioned from theater to film in the early 1900s, quickly rising to fame with her expressive acting and wholesome on-screen persona. By the 1910s and 1920s, she was one of the most recognizable stars in the world, earning the nickname “Queen of the Movies.” She also helped establish the Academy of Motion Picture Arts and Sciences. Mary Pickford was married three times. Pickford’s first marriage was to silent film actor Owen Moore (1911-1920). Her second and most famous marriage was to fellow silent film actor, Douglas Fairbanks (1920-1936). Her third marriage was to actor Charles “Buddy” Rogers (1937-1979). After retiring from acting in the early 1930s, Pickford focused on producing films and philanthropy. She became more reclusive in her later years, struggling with alcoholism and health issues. Today, she is remembered as a pioneering force incinema history.
In Postcard 1, Mary Pickford is shown in a soft, romantic studio portrait. She is presented in three-quarter view and gazing directly at the camera with a calm, introspective expression. Her most striking feature is her abundant cascade of long, tightly curled hair, which frames her face and falls well past her shoulders, emphasizing the youthful, ethereal image for which she became famous. Her face is delicately lit, with smooth, pale complexion, gently arched brows, and large, expressive eyes that convey both innocence and quiet seriousness. The lighting is subtle and flattering, creating a gentle contrast that draws attention to her eyes and the natural symmetry of her features. Pickford wears a dark, likely velvet garment with a lighter collar visible at the neckline, adding depth and richness to the composition. The image appears hand-tinted, with warm tones in her hair and soft coloration in her clothing, enhancing the lifelike quality while preserving the elegance of early studio portraiture. Overall, the photograph presents Mary Pickford as youthful, graceful, and refined, embodying the carefully crafted screen persona that earned her the nickname “America’s Sweetheart.” This postcard was published by Rotary Photo as part of a series (No.S62-3). The photographer is listed as “Moody”. (SOLD)
Postcard 2 features Pickford appearing on an uncommon postcard. In this glamorous sepia-toned image, Pickford is posed elegantly against a textured backdrop. She wears a large, dramatic hat with a wide brim that frames her face beautifully. Her hair is styled in soft curls that fall to her shoulders, and she wears a sheer, embroidered gown that adds a romantic and ethereal quality to the photograph. A simple yet elegant string of pearls drapes around her neck, which she gently holds with one hand, adding to her demure and sophisticated pose. Mary Pickford’s facial expression is soft and serene, with her large, expressive eyes gazing upward as if lost in a dream. Her lips are slightly parted in a faint, knowing smile, giving her an air of both innocence and quiet confidence. The delicate embroidery on her gown and the flowing tulle layers create an image of timeless beauty and classic Hollywood elegance. The reverse of the postcard identifies the publisher as Pictures Ltd., located at 88 Long Acre, London, United Kingdom. This card is part of their “Pictures Portrait Gallery” series and is numbered No. 144. The design on the back features ornate lettering and a charming illustration of a woman surrounded by art supplies, reinforcing the theme of portraiture and artistry. (SOLD)
Offered here is a handsome late nineteenth-century cabinet card portrait of a gentleman with an impressive handlebar mustache, photographed by the Harrisburg, Pennsylvania studio of Shriver & Kibbler. The portrait shows the man turned slightly to one side in a classic studio pose, dressed in a well-tailored double-breasted coat with decorative metal buttons, a high stiff collar, and a neatly tied cravat or tie. His grooming is particularly notable. The sitter wears a full, carefully groomed handlebar mustache, thick across the upper lip and extending outward into gently curled ends. The mustache is both symmetrical and well shaped, giving the portrait a distinctive character and reflecting a popular masculine style of the late Victorian period, when elaborate mustaches were widely admired as a symbol of refinement and maturity. Harrisburg, located in south-central Pennsylvania along the Susquehanna River, has served as the state capital since 1812. By the late nineteenth century the city had become an important regional center for government, commerce, and rail transportation. This cabinet card remains in very good antique condition overall. The photograph retains good clarity and contrast, and the image of the sitter is sharp and well preserved. The mount shows slight corner wear. The mount also shows an extremely slight curvature from age. The reverse of the mount is plain and remains clean. Overall, the card presents attractively and displays nicely (see scans).
This cabinet card is available for purchase at my store, The History Peddler, for $28.00
This cabinet card portrait captures the great facial expressions of a loving father and his spunky daughter. Dad looks quite intense and protective of his adorable daughter. The daughter offers a priceless expression. She has amazing poise for a girl her age. The photographer brilliantly has the daughter holding her fathers hat. Great looking subjects and a terrific pose characterize this image by the Leiter studio in Hamilton, Ohio. SOLD
This is a striking antique cabinet card portrait depicting two young women dressed in dark formal attire, photographed by J. Proctor of Corning, Iowa. The image presents a beautifully composed studio portrait typical of the late nineteenth century, likely dating to the 1880s or early 1890s. The two women are posed within a traditional studio setting featuring a painted woodland backdrop and decorative studio props. One woman stands while the other is seated beside an ornamental pedestal. The seated woman rests one arm on the pedestal, while the standing figure holds what appears to be a small envelope and an elegant handbag, accessories commonly seen in Victorian portrait photography. Both women are dressed in dark, carefully tailored garments typical of the late Victorian period. Their outfits include fitted bodices, high collars, and long pleated skirts, with stylish hats and gloves completing their attire. The seated woman wears a broad-brimmed hat and a coat with decorative buttons, while the standing woman wears a smaller hat with fur or velvet trim and carries a fashionable small purse. The fact that both women are dressed entirely in black naturally raises the possibility that this may represent mourning attire, which was common during the Victorian era following the death of a family member. Mourning dress often involved black garments worn for extended periods, particularly among women. However, black clothing was also widely worn as formal or fashionable attire, especially for studio portraits where darker garments photographed well. The photograph was produced by J. Proctor, whose imprint appears along the bottom mount. Corning is a small community located in southwestern Iowa. This cabinet card portrait dates back to circa 1886 to 1890. This cabinet card remains in very good antique condition overall. The photograph itself retains good clarity, contrast, and detail, with both figures sharply rendered. The mount shows some light foxing along the lower margin. The corners show minor rounding and light edge wear consistent with age and handling. The reverse of the mount displays a plain pink backing and has beveled gold edges. (see scans)
This cabinet card is available for purchase at my store, The History Peddler, for $75.00 at auction.
This vintage real photo postcard features a lovely well dressed couple with a sense of humor. The gentleman in the photograph wrote a very funny message on the reverse of the card. The man, Joe, writes that the pair are being photographed on a mountain, twelve hundred feet above Portland, Oregon. He then demonstrated his flair for humor by suggesting to the postcard’s recipient, “If you have any rats in your smoke house, just put this (photo) in there and I will insure you no more rats will bother”. This postcard was sent to a woman in Latham, Kansas, and was postmarked in Eads, Colorado. The card was written and mailed in 1908. Joe and his “lady friend” were photographed at 10 Minute Photos, by Cal Calvert. The studio was located in Council Crest (Portland, Oregon). Council Crest Park is a city park in southwest Portland. Council Crest is 1071 feet above sea leveland is one of the hightest points in in the Tualatin Mountains. The park offers a great view of Portland. The couple in this photo may have taken a street car to the park. The Portland Railway, Light and Power Company opened a street car route (Council Crest Line) to the park in 1906. In 1907 the company opened an amusement park at the site. Research found information related to the photographer who took this photograph. Charles E. (Cal) Calvert operated his studio at Sixth & Ankeny from 1906 through 1930. In 1907, with the opening of Council Crest Amusement Park, he operated a studio and postcard stand on it’s grounds. He also ran a studio at the Washington Street entrance to Portland’s City Park in 1910. Cal was known for his use of rustic props and for his creativity. One of his sets involved subjects appearing as if they were flying an airplane over the city of Portland. A postcard employing this setting is part of a collection at the Portland Art Museum. SOLD
THE CABINET CARD GALLERY 