THE CABINET CARD GALLERY

This image is a striking late 19th-century cabinet card portrait of an elegantly dressed woman, photographed by George Frank E. Pearsall of Brooklyn, New York. The sitter wears a high-collared lace bodice with decorative brooch, puffed sleeves, and her hair styled in a neatly coiled Victorian updo — a classic example of refined 1880s–1890s portraiture. This cabinet card has ornate typography and a decorative backmark. Note the gold beveled edges of the mount. George Frank E. Pearsall was born in New York City. Orphaned at a young age, he and his brothers were raised by an aunt in Saratoga, New York. In 1852 he began learning photography under an uncle who operated a gallery. After his uncle departed for Australia and the business failed, Pearsall embarked on an eight-year adventure throughout Cuba, the West Indies, Venezuela, and other locations before returning to New York in 1862. Upon his return, Pearsall worked as a positionist for the celebrated New York photographer Benjamin Gurney, refining his skills in one of the leading studios of the era. By 1870 Pearsall opened his own Brooklyn studio, eventually relocating to 298 Fulton Street, where an 1880 advertisement claimed his establishment was the largest photographic studio in Brooklyn. He was also an innovator. In 1883 he developed “Pearsall’s Compact Camera,” a design housed within its own carrying case — a concept later imitated by major camera manufacturers through the 1920s. Pearsall gained national attention in the legal case Pearsall vs. Schenck (1876), widely discussed in the British Journal of Photography and reported by The New York Times. The case involved clients who refused to pay for portraits they claimed not to like. The photography community largely supported Pearsall, asserting that a photographer reproduces the subject as they are — and cannot “correct” nature as a painter might. Pearsall prevailed in court, establishing an  important precedent for photographers’ rights. Here are additional historical notes: He was President of the Brooklyn Archery Club, Secretary and Treasurer of the National Archery Association (1881).  His brother Alva Pearsall worked as a camera operator for Matthew Brady in 1871. Based on mount style, typography, and fashion, this cabinet card likely dates to the mid-to-late 1880s. In regard to condition. This photograph remains clear and well-contrasted with strong detail in the sitter’s features and attire. Light age toning is present, consistent with albumen prints of the period. The mount shows minor edge wear and minor corner wear. The reverse gilt design remains bright and legible. There are no creases or tears (see scans). 

This real photo postcard is available for purchase at my store, The History Peddler, for $14.00 or best offer. 

Interested collectors may view the listing here:

https://www.ebay.com/itm/336435721703

This charming hand-colored postcard captures a bustling Main Street in Huntington, Long Island, New York, as it appeared in 1906. The scene showcases a well-kept dirt road lined with turn-of-the-century storefronts, businesses, and utility poles stretching into the distance. Awnings shade the sidewalks, inviting pedestrians to browse the shops. The street is relatively quiet, with a few early automobiles and horse-drawn carriages, indicating a transition between old and new modes of transportation. One of the most notable features is the storefront signage. Among the visible signs, a general store, possibly a pharmacy or dry goods shop, prominently displays its name, though some letters may be difficult to make out due to age and hand-coloring. One of the signs includes the word “Horseshoe”. Due to the appearance of the building where the sign is hanging, it probably is the name of a restaurant or saloon. The sky is tinted with soft blues and whites, while the buildings are carefully colored to highlight their architectural details. The postcard artist has added warm earth tones to the road and sidewalks, making the scene feel vibrant and lifelike. The back of this undivided postcard (which means it predates the March 1, 1907, regulation that allowed messages on the back) has a classic early 20th-century layout, with space reserved solely for the address. The card bears a clear Huntington, N.Y. postmark dated 1906, with an additional receiving postmark from the destination city (Flushing, Long Island, N. Y.).  Affixed is a green 1-cent Benjamin Franklin stamp, commonly used in this era. The publisher’s information printed in small text on the reverse. The publisher is the Rotograph Company (New York City). (SOLD)

Offered here is a charming and rather uncommon early 20th-century Belgian postcard featuring two young girls engaged in a delightful outdoor scene with their dog. The composition shows the girls seated together on one end of a rustic seesaw fashioned from a plank balanced atop a large cut tree trunk, while a curly-coated dog sits attentively on the opposite end. Both girls point toward the dog, which appears to be participating obediently in their playful balancing act. The dog strongly resembles a Standard Poodle. .The setting appears to be a painted studio backdrop of a pond with lily pads and pastoral greenery. In the lower left corner of the front is a triangular publisher’s logo reading B.N.K.. The card is numbered 32894/2. This publisher is not commonly encountered. B.N.K. is the initials for “Berlin-Neuroder Kunstanstalten”, a German publishing firm. This postcard originates from Belgium, as confirmed by the stamp and postmark. Along the center dividing line, two handwritten names appear, one clearly reading Emma. The second name Drukwerk” is not a personal name — it’s a Dutch (Flemish) word that means “printed matter.” That designation allows for a cheaper postal rate than required for regular correspondence. Based on the divided back format and the style of the Belgian stamp, this postcard likely dates to approximately 1905–1915. In regard to condition, the front of the card retains strong contrast and detail. There is light corner consistent with postal use. A small “X” marking is visible on the log in the foreground, likely added later and noted for accuracy sake. Overall, the postcard is in good vintage condition for its age. 

This cabinet card is available for purchase at my store, The History Peddler, for $19.95 at auction.

Interested collectors may view the listing here:

https://www.ebay.com/itm/236636166025

This is a terrific and historically important early view of the Patchogue Manufacturing Works, better known locally as the Patchogue Lace Mill, Patchogue, Long Island, New York. the postcard was published by the Illustrated Post Card Co., New York and this is number 4493 in the series. The image captures the massive brick mill complex along West Main Street, dominated by its tall smokestack and long rows of factory windows. Particularly wonderful is the foreground activity: a steady stream of men riding bicycles past the mill — likely workers either arriving for or leaving their shifts. It is a vivid slice of early 20th century industrial Long Island life. The postcard is postmarked 1908 and features an undivided back, placing its production firmly in the early postcard era. The crisp industrial composition combined with the human movement in the street gives this card strong visual appeal beyond its historical importance. Officially known as the Patchogue Manufacturing Company, and later the Patchogue-Plymouth Lace Mill, this was a sprawling 12-acre industrial complex that served as the economic heart of Patchogue for more than half a century. The site began as a small water-powered cotton mill in the 1700s. Over time it hosted paper, twine, and woolen operations before its transformation into a major lace producer. In 1880, Scottish manufacturers leased the site and began producing crinoline. By 1890, it was sold to the Patchogue Lace Manufacturing Company, which famously imported looms and skilled weavers from Nottingham, England — then the lace capital of the world. The mill became known for its high-quality lace curtains and tablecloths. At its height, the mill employed between 800 and nearly 3,000 workers, making it one of the largest employers in Suffolk County. So central was the mill to community life that locals nicknamed it “The College,” since many high school graduates went directly to work there. During the war years, production shifted to military needs including parachutes, mosquito netting, camouflage materials, and fabric for G.I. uniforms. Post-war labor challenges and falling demand for lace led the company to relocate operations to Georgia in 1954, leaving the Patchogue site vacant. After years of light industrial reuse, including storage of flammable materials, a devastating fire on January 17, 1972, destroyed much of the complex. The remaining charred structures — including the iconic 150-foot smokestack — were finally demolished between 1996 and 1998. Today the site is remembered as one of the most important industrial landmarks in Suffolk County history. Salvaged bricks from the mill were later incorporated into redevelopment on the property.  SOLD

Offered here is a vivid mid-century color postcard featuring the La Court Hotel and Motor Lodge in Grand Junction, Colorado. This attractive roadside property is shown in bright Western sunlight, with its red-tiled roof and prominent vertical roadside sign reading “La Court Hotel Tavern.” A second sign at left reads “La Court Motor Lodge.” The scene captures a classic American highway-era moment: a line of 1950s automobiles parked neatly along the curb, wide open streets, and the dramatic mesa landscape rising in the distance. The postcard beautifully reflects the optimism and automobile culture of postwar Colorado, when motor lodges and neon signage defined travel in the American West. This postcard was printed as a “Spectra-Color” Postcard, with color photo credited to Transmountain Views, Glenwood Springs, Colo. Spectra-Color production was common in the 1950s–1960s and is known for its rich, saturated tones. Based on the automobiles and printing style, this card likely dates to the mid-to-late 1950s or early 1960s. The postcard is in very good vintage condition. Colors remain bright and strong. Corners show light wear consistent with storage. Minor edge wear is also present. There are no creases or tears (see scans). 

This real photo postcard is available for purchase at my store, The History Peddler, for $4.85 . 

Interested collectors may view the listing here:

https://www.ebay.com/itm/336435607320

This striking early 20th-century real photo postcard (RPPC) depicts an unusual and memorable studio portrait of a young girl seated on a horse, accompanied by an older man standing beside her. The older man could very well be her grandfather. The photograph was clearly taken indoors, with a painted pastoral backdrop behind them and a patterned studio floor beneath the horse—an arrangement that would have required careful staging and speaks to the novelty appeal of the image. The girl is dressed in a winter coat with a fur-trimmed collar and gloves, suggesting the photograph was taken during colder months. The man wears a long overcoat, vest, bow tie, and brimmed hat. The horse appears calm and well-trained, further reinforcing the idea that this was a planned studio portrait rather than an outdoor candid. I could easily be mistaken about the horse’s calmness. The animals tranquility may be the work of a talented taxidermist.  Photographs of horses brought into studios—especially with children as riders—are not all that common. This photo postcard was likely produced in the circa 1920’s based on clothing styles, studio backdrop, and postcard format. The AZO stamp box indicates that the postcard was produced between 1924 and 1949. In regard to condition, the postcard’s image shows strong subject matter with soft contrast. There is surface and mild corner wear present. The card exhibits mild age-related warping, typical for many early postcards; no creases or tears. The postcard’s overall condition is good, with honest age-related wear consistent with early 20th-century real photo postcards (see scans). The image remains highly displayable.

This cabinet card is available for purchase at my store, The History Peddler, for $22.00 at auction.

Interested collectors may view the listing here:

https://www.ebay.com/itm/336428056882

This well-executed Victorian-era carte de visite presents a confident studio portrait of a young adult man photographed by Phipps & Johnston, whose studio operated in New Castle. The subject is posed in a relaxed but self-assured stance, resting one hand casually on a rustic studio prop while the other is tucked into the pocket of his long overcoat. He wears a dark brimmed hat, a layered ensemble consisting of a buttoned waistcoat, patterned inner lapels or scarf, and a knee-length overcoat—a fashionable and practical outfit typical of the late 1860s to early 1870s. His clothing suggests a man of modest means but clear attention to style, possibly urban or industrial middle class. His expression is serious and composed, with a direct gaze that conveys quiet confidence rather than overt formality. The pose, costume, and backdrop together reflect the period’s shift toward more naturalistic studio portraiture, moving away from rigid early Victorian conventions. In  regard to the photographers, one of the partners, A. W. Phipps, is known to have been Albigence Waldo Phipps (1827–1903), a professional photographer active in western Pennsylvania during the mid-to-late 19th century. Phipps operated both independently and in partnership, including this documented collaboration with Johnston. While less is known about Johnston, the joint imprint confirms a formal studio operation. This photograph appears to date back to circa late 1860’s and early 1870’s. This photograph is in very good condition with clear facial detail and strong tonal range. There is minor edge wear. The studio imprint remains sharp and legible. Overall, this about 150 year-old CDV is in good condition (see scans).

This carte de visite is available for purchase at my store, The History Peddler, for $28.00 at auction.

Interested collectors may view the listing here:

https://www.ebay.com/itm/336428224697

This striking Victorian-era advertising trade card promotes Brown’s Iron Bitters, one of the most widely marketed patent medicines of the late 19th century. The front features a richly colored lithographic image of Mrs. Langtry, “The Jersey Lily,” the celebrated actress and social icon of the period, shown seated in a rustic outdoor setting. She wears a floral-patterned dress with apron, red skirt, and shawl, her pose elegant and contemplative, clearly designed to associate refinement, vitality, and feminine beauty with the advertised product. Bold lettering across the top reads “BROWN’S IRON BITTERS – THE BEST TONIC,” while the lower portion lists an extraordinary range of ailments the product claimed to cure, including dyspepsia, intermittent fevers, loss of strength, malaria, and nervous exhaustion—classic examples of the sweeping medical claims common to the patent medicine industry. The reverse contains a dense promotional essay addressed specifically “TO LADIES,” extolling the virtues of iron as a restorative tonic for the blood, nerves, digestion, and general vitality. The text cites unnamed medical authorities and emphasizes that Brown’s Iron Bitters was uniquely formulated to avoid the side effects associated with other iron preparations. The card identifies the manufacturer as Brown Chemical Co., based in Baltimore, Maryland, and notes the retail price of $1.00 per bottle—a substantial sum at the time. Trade cards such as this were distributed freely by druggists and are now prized for their vivid graphics, cultural insight, and association with Victorian advertising practices, celebrity endorsement, and early pharmaceutical marketing. This trade card was published in circa the late 1880’s to the early 1990’s. The lithography was done by th Burrow – Giles Lithographic Company (New York). SOLD

The pretty actress seen on this vintage real photo postcard is Clarita Vidal (1883-1919). She was an actress in Edwardian musical comedies. She was also known for her work in wartime Italy. She did this volunteer work as Countess Chiquita Mazzuchi. She once told a reporter that she did not know her nationality. There were varying stories about her background. She said she was born in Singapore and that her father was a Spanish Ambassador and her mother was from England. Vial also said that she was raised in Algiers among Spanish diplomat families. She stated her name there was Chiquita Saavedra de Cervantes. Vidal was a “Florodora girl”, a stage beauty.  “Florodora” was an Edwardian musical comedy that became one of the first successful Broadway musicals of the twentieth century. The show opened in London in 1899. Actresses Evie Greene and Ada Reeve were among the show’s performers. The Broadway production was performed at the Casino Theater in 1900 and ran for 552 performances. The show achieved some of its success from it’s chorus line of “Florodora Girls”. A Wikipedia entry describes the six female performers comprising the line as being”tall, gorgeous damsels, clad in pink walking costumes, black picture hats and carrying frilly parasols (who) swished onto the stage and captivated New York for no other reason than they were utterly stunning”. The IBDB credits Vidal with two Broadway appearances; “The Silver Slipper” (1902) and “Cynthia” (1903). These appearances were followed by roles on the London stage, including “The School Girl” (1903). Renowned actress Billie Burke said of Vidal, “I remember Clarita Vidal, famous and smick-smack, who posed as if she were made of wax, with just one expression of sheer beauty”.  She left the stage after marrying in 1909. The press rediscovered her by late 1915. She was using the name “Countess Chiquita ‘Chick’ Mazzuchi” and was working as a nurse and ambulance driver during World War I. In 1917 she spoke at war relief fundraisers in New York City. She spoke about wounds she sustained during her service in Italy. Apparently, Miss Vidal was prone to exxaggeration, or lying, depending on your perspective. The Italian Consul objected to her using the title of “Countess” and embellishing her nursing experiences in the war. The New York district attorney investigated her claims and she agreed to stop speaking and collecting money for the war effort. The content of the message on this card is interesting. The sender is wishing the addressee luck on her music performance exams. 
This postcard was published by Davidson Brothers and is part of the “Stageland” series. Miss Vidals portrait photo for this postcard was taken by the Biograph Studio indicating that she was under contract with the firm at the time this postcard was published. The postcard has minor corner wear and is in overall good condition (see scans).

This real photo postcard is available for purchase at my store, The History Peddler, for $8.48 or best offer. 

Interested collectors may view the listing here:

https://www.ebay.com/itm/236627215093

Vesta Tilly (1858-1952) was one of the most beloved and influential performers of the British music hall era. She was a groundbreaking male impersonator who captivated audiences for decades with her wit, charm, and powerful stage presence. Born into modest beginnings, she rose to become a symbol of British patriotism and a pioneer for women on the stage. Tilly was born in Worcester, England. She was the second of thirteen children born to Henry Powles, a self-employed musician and fiddler, and Matilda Powles. Her father, deeply involved in local musical performances, recognized Matilda’s precocious talent at an early age and began showcasing her on stage by the time she was just three years old. The Powles family moved to London when Matilda was a child, in pursuit of more lucrative theatrical opportunities. With her father acting as her manager, she began performing under the stage name “Little Tilly” in pantomimes and variety shows. Matilda’s first male impersonation was at the tender age of six. By her teenage years, she had taken the stage name Vesta Tilly, inspired by the Roman goddess of the hearth (Vesta) and a common nickname (Tilly). Her success as a “principal boy” in pantomime was soon eclipsed by her signature act: portraying men with startling authenticity and satirical flair. What set Tilly apart was her command of the stage and her uncanny ability to adopt male gestures, mannerisms, and vocal inflections. She didn’t just mimic men—she portrayed them with intelligence, humor, and often, social critique. She frequently played dapper young men, military officers, or swells (wealthy young men), sometimes poking fun at political figures or addressing social issues. She became one of the most highly paid and respected performers in the British music hall scene during the late Victorian and Edwardian periods. Her stage appearances were so convincing that many audience members did not initially realize she was a woman. Vesta Tilly’s career spanned over four decades, and she performed in countless popular songs and sketches. Some of her most iconic performances included: “Following in Father’s Footsteps”, “Burlington Berlie”, and “The Boy in the Gallery”. She was particularly popular among working-class audiences and soldiers. During World War I, Tilly took on a new patriotic role, performing in uniform to recruit young men to the military. She was so effective that she earned the nickname “England’s Greatest Recruiting Sergeant.” In 1890, Vesta Tilly married Walter de Frece, a theatrical impresario and songwriter. Their relationship was both romantic and professional—Walter became her manager and guided much of her career. He was instrumental in helping shape her brand and ensuring her continued success on the music hall circuit. After World War I, Walter was knighted and later became a Member of Parliament. This new political role brought Vesta into a more socially prominent world, and she gradually withdrew from the stage. Vesta Tilly gave her final performance in 1920 at the London Coliseum. Her retirement was widely publicized and emotional for her devoted fan base. After stepping away from the stage, she became Lady de Frece, supporting her husband’s political ambitions and engaging in charity work. The couple eventually moved to Monte Carlo, where they lived a quieter life. Walter de Frece died in 1935, and Vesta lived on until 1952. This postcard portrait was produced by the renowned London photographic studio Bassano, whose work is closely associated with royalty, theatrical stars, and prominent public figures. Tilley is shown in an elegant studio portrait wearing a dramatic fur-trimmed costume and an elaborate feathered hat, projecting the poise and refinement that made her a major stage attraction. Although best remembered for her celebrated male-impersonation roles, this image presents her in a formal, feminine guise, offering a compelling contrast that enhances its appeal to collectors. The postcard was published by Rotary Photo. The card was postmarked in 1905 and is in the early divided back format. The message on the postcard is apologetic. It states in part “I don’t think this is quite so nice as the one you wanted but its the only one I could get.” In regard to condition, this is a strong image with soft contrast and good detail. There is a crease in the card’s lower right corner and mild corner wear. Overall, this 120 year old card is in good antique condition (see scans).

This real photo postcard is available for purchase at my store, The History Peddler, for $14.00 or best offer. 

Interested collectors may view the listing here:

https://www.ebay.com/itm/236626558169