This charming real photo postcard captures a solemn young boy dressed in what appears to be a child’s fire brigade or volunteer fireman uniform. The boy stands confidently beside a simple studio prop bench, his small hand resting upon it, as he faces the camera with a serious, almost determined expression. His dark uniform features bright metal buttons arranged neatly down the front, a belt at the waist, and a light-colored neckerchief or bib that contrasts sharply against the darker fabric. Most striking of all is his cap, clearly lettered “INDEPENDENCE NO. 2”, suggesting affiliation with a local fire company or juvenile fire brigade—likely a volunteer unit or ceremonial youth group. The photograph has the warm sepia tone typical of early 20th century real photo postcards. The child’s attire reflects a popular early 1900s trend of dressing boys in miniature uniforms—fireman, sailor, soldier—symbolizing civic pride and patriotism. Embossed below the image is the name R. A. Swank. He is likely the photographer of this photo postcard. Preliminary research reveals that Swank operated a studio in Shamokin, Pennsylvania. The image is well-composed with pleasing tonal contrast and good clarity. The child’s facial features are sharply rendered, and the uniform details are crisp. The card remains unused, with only a single name (“Malcolm”) written lightly on the correspondence side. The postcard is in overall very good antique condition. The photograph retains strong contrast and detail. Minor age toning consistent with early 20th century photographic paper. Light surface specks and small spotting visible primarily on the reverse. Corners show only mild rounding (see scans).
This cabinet card is available for purchase at my store, The History Peddler, for $46.00 at auction.
Three neatly dressed siblings pose on an elaborate studio set meant to evoke a grand front porch. The children stand on faux stone steps framed by a carved balustrade and an ornate painted backdrop that suggests a Victorian doorway with decorative leaded glass. A scatter of dried “grass” on the floor and a tasseled straw bonnet draped over a brocade armchair complete the illusion of an outdoor scene brought indoors. The eldest girl (seated, about 8 yrs of age) wears a practical, mid-brown day dress gathered at the high waist, with inset smocking and a crisp self-fabric bow on the bodice. Her lace-edged collar and tightly laced, mid-calf button boots attest to middle-class respectability. She looks straight into the camera with a composed, almost adult seriousness, hands folded demurely. The youngest child (standing left of steps, is about 5 yrs old) sports a darker pinafore-style dress over a lighter blouse with a deep lace collar. Tousled blond hair and the small doll clutched in her right hand hint at a restless energy; her wide-eyed expression is inquisitive rather than shy. The middle child (standing right, about 6 yrs of age) is dressed in a pleated black wool dress with bishop sleeves and another lace collar. One hand rests confidently on the carved railing; her level gaze and slightly pursed lips convey the earnest formality children often adopted for long photographic exposures. The dog is a small terrier-type dog and it sits statue-still on the middle step. Close inspection shows a glossy coat, natural posture, and slight blur at the muzzle—signs it is a live pet briefly held in position rather than a taxidermy studio prop. Including a real dog was a mark of photographic bravado, as animals could easily ruin an exposure. The probable date that this photograph was taken, judging by hemlines and hair styles point to between the late 1880’s and early 1990’s. Very little survives about this short-lived partnership beyond the faint back-stamp on the reverse of the card. The best-documented local photographer is P. Andersen, listed as operating in Shelby in 1891 and again in nearby Kimballton. No information about photographer, Miller, was discovered in preliminary research. Shelby sprang up along the Chicago, Rock Island & Pacific line in 1868, was platted in 1870, and incorporated in 1877. By the 1890 census the town counted roughly 650 residents (Shelby County total 17,611), serving as a grain-shipping point for surrounding farms. Main-street businesses—including at least two photo galleries—catered to a growing, rail-connected farm community. (SOLD)
This vintage real photo postcard feature actress Bebe Daniels (1901-1971). Miss Daniels is beautiful. She is nicely dressed and her outfit includes furs. She is wearing a large ring and a necklace with a cross. Bebe Daniels was an American actress, singer, dancer, writer and producer. She was born in Dallas, Texas to show business parents. Her father was a theater manager and her mother was a stage actress. She started her career in Hollywood as a silent film child actress. She became a star in musicals such as “42nd Street”. She worked opposite Harold Lloyd and was under contract with Cecil B. DeMille. She later became a popular radio and television actress in Great Britain. In the 1920’s she was under contract with Paramount Pictures and made the transition to adult roles. In 1924 she played opposite to Rudolph Valentino in “Monsieur Beurcaire”. She also recorded songs for RCA Victor. When talkies began, she was hired by RKO. While with RKO her movies included a number of musicals such as “Dixiana” (1930) and “Love Comes Along” (1930). Over the course of her career, she appeared in 230 films. She retired from Hollywood in 1935. After World War II she was awarded the Medal of Freedom by President Truman for her service during the war. An interesting story concerning Miss Daniels is that while appearing in a Chicago hotel, several thousand dollars worth of her jewelry was stolen from her hotel room. Al Capone, the notorious gangster, was a longtime Daniels fan and put out an order that the thief had just 24 hours to return it “or else”. The jewelry was returned the following day. This postcard was published by SSSS sometime between 1924 and 1929. This postcard remains in good overall vintage condition. The image itself is strong, with deep contrast and excellent tonal range — the facial features and dark costume details remain crisp and well defined. There is scattered light surface wear visible under close inspection, including minor speckling typical of age. The white border shows light corner wear. There are no creases or tears (see scans).
This real photo postcard is available for purchase at my store, The History Peddler, for $9.85 or best offer.
This striking original cabinet card photograph dates from the late 19th century, likely circa 1890, and captures a group portrait of six well-dressed men posing in a photographic studio in Jamestown, New York. The image was taken by Penton & Andruss, located at No. 4 Forest Ave., Jamestown, N.Y., as identified by the ornate imprint on the front mount. The men are dressed in typical late Victorian attire, wearing a variety of three-piece suits, waistcoats, high-collar shirts, and neckties or cravats. Each man wears a broad-brimmed hat, suggesting either a regional or occupational identity—possibly connected to rural life, ranching, or even a fraternal organization. The group is arranged in a formal pose: four men standing in the back and two seated in front on elegant studio furniture. The backdrop features painted columns and drapery, a common studio motif of the period meant to evoke elegance and sophistication. The seated men have a relaxed posture, one with legs crossed and hands folded in his lap, while the other leans slightly forward with a composed, confident expression. Each subject maintains a serious or neutral facial expression—typical for 19th-century portraiture due to long exposure times and social conventions around photographic solemnity. Penton & Andruss, the photographers, was a partnership based in Jamestown, New York during the late 19th century. While detailed biographical records on the firm are limited, they appear in regional business directories and period listings as active professional photographers. Jamestown was a thriving industrial and lumber town during this period, and it’s possible that these men were involved in local trades or belonged to acommunity club, union, or fraternal society. (SOLD)
This charming antique postcard features a softly tinted portrait of a young woman holding a cat, presented in a delicate early twentieth-century style. The image has a gentle, almost ethereal quality, with the lower portion fading into a light background. The young woman, with softly waved dark hair styled in a short bob typical of the 1910s–1920s era, gazes directly at the camera with a calm, slightly wistful expression. She wears a sheer, pale pink wrap draped around her shoulders, the tinting carefully applied to highlight the garment while the rest of the portrait remains in muted tones. Cradled in her arms is a white and tabby cat, alert and expressive, looking upward toward her face. The cat’s markings are clearly defined, and its front paw rests gently against her shoulder, creating a tender, affectionate composition. The overall presentation is romantic and sentimental, very much in keeping with popular postcard art of the period. In the lower left corner of the image appears the RPH logo (Rotophot), along with the serial number 3503/4. The publisher of this German printed card is the Carlton Publishing Company (London). The divided back format suggests production circa 1905–1918. There is a handwritten message on the left side of the back, written diagonally in pencil. It reads: “To Dolly with love & best wishes from Olive”. The condition of the postcard appears consistent with age, showing light toning and minor surface wear typical of early 20th century postcards. Corners show slight handling wear, and overall, the card remains in very good antique condition with strong image clarity and attractive color (see scans).
This cabinet card is available for purchase at my store, The History Peddler, for $22.00 at auction.
This charming late-Victorian cabinet card captures a little girl with a wonderfully coy, precocious expression—eyes turned to the side as if she’s sharing a private thought with the photographer. Her softly curled hair, the oversized bow, and the gentle studio lighting create that classic 1890s “storybook” portrait look. The pose feels spontaneous and intimate; displaying this adorable girl’s personality. The photographer is George Gardner Rockwood, one of New York City’s best-known portrait men of the era. Rockwood’s studio became a major name in celebrity and society photography, and surviving cabinet cards with his imprint are widely collected today. The New York Public Library’s Photographers’ Identities Catalog documents Rockwood operating a New York City studio/business in the period 1894–1902, specifically at 1440 Broadway (the same address printed on this mount). Rockwood’s career is also well summarized in reference sources that note his long life (1832–1911) and his enormous output of portraits over decades in the business. Rockwood was born in Troy, New York and graduated from college with a PhD, reportedly either from the University of Chicago, or Columbia University. At 21 years of age, he was a newspaper reporter for the Troy Daily Times and at age 23, he was managing editor of the Troy Daily Post. He began working as a photographer in St. Louis and in 1857 opened a studio with his brother Elihu in New York City. He has been credited with bringing CDV’s to America. His obituary in the Washington Post reports that Rockwood photographed more than 350,000 people. This photograph was taken in 1896. That date appears in the lower right corner of the cabinet card, under the studio’s address. Overall, this cabinet card presents beautifully, with a soft tonal range and good facial clarity. There is age wear to the mount, including edge/corner wear and scuffing, and what appears to be a small wrinkle near the bottom corners (see scans).
This cabinet card is available for purchase at my store, The History Peddler, for $85.00 at auction.
This vintage real photo postcard features a pretty teenage girl who is sitting on a window sill in front of an open window. A painted back drop can be seen in the background. The young lady is dressed in white and is wearing a very large hair bow. This photograph was taken by Pleschner’s Photo Studio located in Chicago, Illinois. SOLD
This cabinet card portrait features a well dressed man with a masterful wiry mustache and chin beard. He is wearing a watch on a chain as well as a very serious expression. This photograph was taken at the Raitt & Parsons studio, which was located in Durand, Wisconsin. The town of Durand is in western Wisconsin and was first settled in 1856 by 21 year-old Miles Durand Prindle.. The town was incorporated in 1887. Photographer, Thomas G Raitt (1847-1904) operated a studio with Mr Parsons between 1891 and 1892. He was a sole proprietor photographer between 1893 and 1904. After Thomas died, another Raitt continued to work as a photographer in Durand. The most likely suspect is Mazie Penelope Raitt (1880-1945) who was a daughter of Thomas and his assistant photographer. In 1905, she ran her own studio, which was likely her late father’s business. One can assume she succeeded her father after Thomas’s death. It appears that Mazie later joined forces with photographer Oscar Fryklund. The pair are listed as partners in the Historical Index of Wisconsin Photographers. An inscription on the reverse of this photograph indicates that the subject is “Uncle Let Briggs”. A preliminary investigation did not obtain confirmable biographical information about “Let Briggs”. There was a “Let Briggs” born in Michigan in 1875, but if the subject was this man, it would mean that he would have been in his mid twenties when he posed for this image. The man in this photograph is clearly significantly older than the mid twenties.
This cabinet card is available for purchase at my store, The History Peddler, for $24.00 .
This rare vintage real photo hand-painted postcard features British actress, theatrical manager, and producer Gladys Cooper (1888-1971). Cooper’s career spanned over seven decades and she acted on stage, film, and television. She was a popular “pin-up” model for British troops during World War I. In 1967, she was awarded the coveted title of Dame of the Order of the British Empire. Cooper was known for both her talent and her beauty. In fact, she was considered by many to be the most beautiful actress in England. This is a real photo postcard featuring Gladys together with her daughter Joan. The postcard was published in Britain by Rotary Photo, this card is catalogued B.172-2. The postcard features Gladys seated in a wicker chair, dressed in a light coat and striking wide-brimmed hat with bold black and white stripes. Her expression is calm and direct, gazing steadily at the camera. Joan leans into her mother’s embrace, wearing a light dress, her long curls framing her face, and looking tenderly toward the viewer. The intimate pose conveys both warmth and strength. Cooper’s bold autograph facsimile appears at the bottom right. The reverse of the postcard is divided back and has a message. The following is an approximate transcription. “Dear Friend, Thanks for card, pleased to hear you are enjoying yourself. Jones’ leg is better I hope you have gone for good. Weather has taken up & it won’t be very long before you are more like yourself. Yesterday was glorious, but today is dull & very damp. Remember me to your mother. With kindest regards to you both.”(SOLD)
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 in cinema history. This original real photo postcard (RPPC) features the legendary Pickford in her role as Pollyanna from the 1920 United Artists film Pollyanna. The image is hand tinted. The postcard was published in the United Kingdom by Beagles & Company. The card was meant to promote the film. “Pollyanna” was a silent film released in 1920 and Pickford was it’s star. The film was based on the 1913 novel by Eleanor H. Porter, the story follows an optimistic young orphan named Pollyanna who is sent to live with her stern, crotchety Aunt Polly in a dour New England town. Pollyanna transforms the lives of the cynical townspeople by teaching them the “glad game”—a challenge to find something to be glad about in every situation, no matter how difficult. This was the first film released by United Artists, the independent studio Pickford co-founded with Charlie Chaplin, D.W. Griffith, and Douglas Fairbanks. Despite being 27 years old at the time, Pickford played the role of the 12-ye The film was a massive commercial hit, grossing over $1.1 million, which was an astronomical sum for the era. Her success in the role was so immense that she continued to play “little girl” characters for several more years. This postcard has an ornate border and is in excellent condition (see scans).
This cabinet card is available for purchase at my store, The History Peddler, for $38.00 at auction.
THE CABINET CARD GALLERY 