THE CABINET CARD GALLERY

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

This early 20th-century postcard captures a dynamic view of the homestretch at the Huntington Fair Grounds, Long Island, showing horse racing in progress as riders round the final stretch of the track. Spectators line the rail and gather near the grandstand, while the wide, open landscape beyond the course emphasizes the rural character of Huntington prior to large-scale suburban development. The scene documents a historically significant site. Horses had been raced in this area since at least the 1840s, first as the Suffolk Racing or Driving Course, and later as the Huntington Fair Grounds. By the late 19th and early 20th centuries, the grounds featured a one-mile track, grandstand seating for approximately 1,500 spectators, a clubhouse, barns, and surrounding open fields. The fair grounds attracted visitors from across Long Island and Brooklyn, many arriving via the Long Island Rail Road, which ran special trains for race days and fairs. The postcard preserves a moment from an era when Huntington’s Fair Grounds served as a social and recreational hub, hosting horse races, livestock exhibitions, and county-style fairs before the land was ultimately subdivided for residential development in the 1920s. Today, the area is known as Huntington Station, making images such as this important visual records of a vanished landscape. This divided back postcard was postmarked in 1907. On the reverse of the postcard is a  friendly personal message describing a pleasant Sunday trip to Port Jefferson and asking when the recipient will visit again. In regard to condition, The card has good image clarity with even contrast and only light surface and corner wear. This postcard is in overall good condition for a 1907 mailed postcard (see scans). 

This real photo postcard is available for purchase at my store, The History Peddler, for $20.00 or best offer. 

Interested collectors may view the listing here:

https://www.ebay.com/itm/236626911861

This evocative Victorian-era cabinet card presents a formal studio-style portrait of three young siblings, likely photographed circa 1890–1900, based on clothing styles, furniture, and interior décor. The children are arranged carefully around an ornate upholstered rocking chair, with the youngest seated at center and the two older children standing protectively on either side—a classic late-19th-century compositional choice emphasizing family structure. The setting is especially rich in period detail. Behind the children is a patterned wallpaper typical of the 1890s, along with a small table holding framed photographs and a decorative lamp. A draped textile with a prominent five-point star motif hangs on the wall above. The chair itself features carved wood, plush upholstery, and tasseled trim—furnishings commonly found in middle-class Victorian homes and photographic studios of the era. The youngest child wears a white infant’s dress with voluminous sleeves, typical of the period when both boys and girls were dressed alike in early childhood. The child on the left wears a dark dress with lace trim and puffed sleeves, consistent with girls’ fashions of the 1890s. The child on the right appears to be a young boy wearing a tailored jacket with decorative buttons and a prominent ruffled collar. The photograph is mounted on a dark cabinet card mount with the photographer’s imprint at the bottom. The photographer is C. A. Lighty and he operated a studio in Brookston, Indiana. The reverse of the photo is blank aside from faint period pencil notation identifying the children. The subjects of this photograph are Mary, Willie, and John Francis.  Altogether, this is a highly appealing Victorian children’s portrait, combining strong composition, expressive faces, and a beautifully documented domestic interior. This cabinet card measures about 4.25 x 6.50 inches and is in very good condition. The photo has very good clarity and contrast. There are no stains, tears or losses to the image. There is light corner wear typical for it’s age. The reverse is clean with legible faint pencil writing visible under strong light (pencil writing is only name identification). See Scans 

This cabinet card is available for purchase at my store, The History Peddler, for $36.00 at auction.

Interested collectors may view the listing here:

https://www.ebay.com/itm/236624775801

This engaging early 20th-century theatrical postcard features Mlle. Pomponnette, a young stage dancer captured mid-movement, holding her skirt in a lively, playful pose. The image reflects the popular style of music hall, café-concert, and revue performers who flourished in France and across Europe during the postcard boom of the Belle Époque. Pomponnette’s costume—light, decorative, and designed to emphasize motion—suggests a performer known more for charm and personality than for formal ballet. Such poses were typical of dancers who appeared in popular entertainment venues rather than classical theaters, and postcards like this served as inexpensive celebrity images, eagerly collected by admirers. The name “Pomponnette” is almost certainly a stage name, a common practice among dancers of the period. These whimsical or diminutive names were chosen for memorability and marketing appeal, particularly when images were widely distributed as postcards. Basically, “Pomponnette” was a generic name used by a number of performers. Roughly translated, the word means “dainty tassel or ornament”. The word could be interchanged with “flapper”, “chorus girl”, or “show girl”.  This postcard dates to the golden age of performer postcards, when images of singers, dancers, and actresses were among the most sought-after subjects by collectors and the general public alike. Based on the postcard format, image style, and overall presentation, this card dates to circa 1900–1907, during the Undivided Back era, when the entire reverse side was reserved for the address and messages were written on the front or image side. This postcard is in overall very good vintage condition. There is light corner wear consistent with age. The image remains sharp with good tonal contrast There are no creases, tears, or losses (see scans). 

This real photo postcard is available for purchase at my store, The History Peddler, for $24.00 at auction.

Interested collectors may view the listing here:

https://www.ebay.com/itm/336421316637

This cabinet card photograph features a lovely middle aged woman. A name appears on the reverse of the photograph and it likely belongs to the subject. The photographer of this cdv is Guglielmo Sebastianutti (1825-1881) and Franz Benque (1841-1921). Sebastianutti has one portrait in England’s National Portrait Gallery. It is evident that the photograph is an early cabinet card because Sebastianutti died in 1881 and because the years he won photography awards reveal the approximate time this photo was taken. The reverse of the photograph lists a number of awards won by the photographers. They recognized in Berlin, Germany (1865), Paris, France (1867), Hamburg, Germany (1868), Groningen, Netherlands (1869), and Vienna, Austria (1870), Since Sebastianutti’s photography career ended in 1878, it is clear that this image was taken between 1870 and 1878. Sebastianutti’s studio was located in the city of Trieste, which is a port city located in northeast Italy. During Sebastianutti’s career, he partnered with celebrated German photographer, Franz Benque (1841-1921). Benque moved to Trieste in 1864 and partnered with Sebastianutti in the opening of a photography studio. At the time Sebastianutti was watchmaker. In 1868, Benque married Sebastianutti’s step-daughter, Isabella. Despite the success of his studio, Benque returned to Germany in 1869, and opened a studio with his cousin, Conrad Kindermann, in Hamburg. Benque must have had wanderlust because in 1870, he immigrated with his family to Brazil. There, he partnered with Alberto Henschel (1827-1882) and operated studios in Bahia and Pernambuco. Benque’s studios gained the reputation of being the best in all of Brazil. In 1878, Benque must have had another episode of wanderlust which propelled him back to Trieste and a partnership with Sebastianutti. Benque must have had one more “relocation” left in him. In 1903 he moved to Villach, Austria. This cabinet card image is in very good condition (see scans).

This cabinet card is available for purchase at my store, The History Peddler, for $36.00 at auction.

Interested collectors may view the listing here:

https://www.ebay.com/itm/336417743549

This is an original early-20th-century French theatrical portrait postcard depicting the actress (1871-1941) , shown in an elegant studio portrait wearing a wide-brimmed hat adorned with feathers and a strapless, beaded stage costume. The image has been tastefully hand-colored, with delicate pink tones applied to the cheeks, bodice, and floral elements—an enhancement commonly used on Parisian actress postcards of the Belle Époque. The caption beneath the image reads “DIETERLE (Bouffes-Parisiens)”. The name in parentheses refers to the theatre with which the actress was professionally associated at the time the postcard was issued. The Théâtre des Bouffes-Parisiens, founded by Jacques Offenbach, was one of Paris’s most important venues for operetta and light musical theatre. Dieterle was a French stage actress and singer active during the Belle Époque, a period marked by the flourishing of operetta, musical comedy, and boulevard theatre in Paris. She is best documented through her appearances in theatrical portrait photography and commercial postcard series, a primary means by which actresses of this era achieved public visibility. Born in Strasbourg, France, Amélie Diéterle rose to prominence as an actress and singer, becoming a central figure in Parisian theater. Her performances at the Théâtre des Variétés and collaborations with notable composers and playwrights solidified her reputation. Beyond the stage, she inspired renowned artists such as Auguste Renoir and Henri de Toulouse-Lautrec, who immortalized her in their works. Diéterle’s influence extended into the realm of early cinema, with appearances in several silent films during the 1900s and 1910s. The photograph seen on this postcard was taken by Manuel, a prominent Parisian studio photographer active in the late 19th and early 20th centuries. Manuel specialized in theatrical portraiture, producing formal studio images of actresses, singers, and stage performers for publicity and commercial use. His portraits are noted for their careful studio lighting, soft tonal modeling, and emphasis on costume and theatrical presentation. The imprint “ND Photo” in the lower right corner identifies the publisher as Neurdein Frères, one of the most important French photographic publishing firms of the late 19th and early 20th centuries. This postcard is part of Neurdein’s numbered actress series (No. 32). The postcard is a divided-back French card, postmarked in 1907. SOLD

This vintage real photo postcard features a portrait of the multi talented actress, dancer, and singer, Gaby Deslys (1881-1920). Miss Deslys performed at the beginning of the twentieth century in both Europe and the United States. She was extremely popular worldwide. In fact, she was able to earn four thousand dollars a week when performing in the United States. She performed several times on Broadway. She had a dance named after her, “The Gaby Glide” (1911). You can find the sheet music, with Gaby on the cover, elsewhere on ebay. Her love life was the topic of much public gossip. She probably added to the sensationalism surrounding her by posing in a number of risque postcards. She was courted by many wealthy and powerful men, including the King of Portugal. Her life was cut short by the “Spanish” influenza. 
This striking real photo–style theatrical postcard features Miss Gaby Deslys, one of the most celebrated and fashionable stage performers of the early 20th century. The card was issued by The Philco Publishing Co.(London).  The portrait shows Deslys in an elegant three-quarter pose, turning slightly toward the camera with a confident yet playful expression. She is dressed in a lavish Edwardian costume, featuring puffed sleeves, decorative embroidery at the bodice, and a high, structured collar embellished with layered bands that resemble pearls or beadwork. Most dramatic is her enormous feathered hat, crowned with sweeping plumes and a prominent fabric rosette at the front—an extravagant fashion statement very much in keeping with Deslys’s reputation as a trendsetter whose costumes were widely copied on both sides of the Atlantic. The overall effect is theatrical, glamorous, and unmistakably pre-war. The reverse is a divided-back postcard that bears a handwritten message, neatly penned in dark ink. The message reads: “To Claire. Love, good wishes, kisses & every thing else good is the sincerest wishes of Ernest & Lena.” No stamp is present, suggesting the card may have been written but not mailed, or possibly hand-delivered. Based on the divided back format, the Philco imprint, and Deslys’s peak popularity, this postcard dates to circa 1906–1912, squarely within the Edwardian era. This postcard is in  good antique condition overall, with expected light surface wear and mild age toning consistent with a postcard well over a century old. There is a noticeable vertical mark originating at the top border and extending downward into the image, reaching the upper portion of the feathered hat. This appears to be a surface mark or printing/handling issue. The mark is not a crease, and it does not affect the subject’s face or body. There is minor corner wear and no tears or creases. The photographic image remains strong, with good contrast and excellent detail in the costume, facial features, and elaborate hat. The reverse is clean and fully legible, with the handwritten message clearly preserved (see scans).

This cabinet card is available for purchase at my store, The History Peddler, for $24.95 at auction.

Interested collectors may view the listing here:

https://www.ebay.com/itm/336412384365

This vintage real photo postcard features French performer, Clara Faurens. Faurens was an actress and a singer. The New York Times (1912) described hear as a rival to the celebrated performer, Gaby Deslys. The photograph on this postcard was taken by celebrated portrait photographer, Leopold Reutlinger. His studio was located in Paris, France. He photographed many theatrical stars and other celebrities. The postcard was published by SIP. This vintage real photo postcard is in very good condition (see scans).

This real photo postcard is available for purchase at my store, The History Peddler, for $6.00 

Interested collectors may view the listing here:

https://www.ebay.com/itm/336422447004

This is an elegant vintage French real photo postcard published by S.I.P. and photographed by Léopold-Émile Reutlinger, one of the most celebrated portrait photographers of the Belle Époque in Paris. The card is titled “DOLL” and bears the series number 1243. The image features a striking young woman in a gracefully draped, light-colored gown standing in a wooded or studio set suggesting a natural glade. Her long, wavy hair, ethereal expression, and the subtle hand-tinting of the photograph reflect the artistic aesthetic of early 20th-century Parisian portraiture, where actresses, dancers, and models were often captured in atmospheric tableaux rather than formal studio images. Léopold-Émile Reutlinger (1863–1937) was a Peruvian-born French photographer from a distinguished photographic family active in Paris from the late 19th century through the interwar period. His studio specialized in portraits of actresses, dancers, singers, and fashionable women, often used for postcards and theatrical publicity. There is no confirmed historical biography or theatrical record that clearly identifies the model referred to simply as “Doll” on this card. Unlike many other Reutlinger postcards that depict well-documented stars of French music-hall and theatre, this card’s subject appears to be a lesser-known model or performer whose stage name or mononym did not enter larger archival records. This postcard was issued sometime between circa 1905 and 1915, a heyday of Belle Epoque postcard collecting. This card is in very good antique condition. The image has excellent clarity and artistic presence. There is lovely light hand-tinting across the forest background and gown. The card has very light corner wear  and no creases, tears or paper loss (see scans). 

This real photo postcard 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/236607374380