This striking Belle Époque portrait depicts Geneviève Lantelme (1883–1911), one of the most photographed and fashionable actresses of turn-of-the-century Paris. She developed a successful theatrical career during the first decade of the 20th century. The Bibliothèque nationale de France identifies her as a theatrical actress, the wife of newspaper magnate Alfred Edwards, and records that she died by drowning during a cruise on the Rhine in 1911. Lantelme began appearing on the Paris stage in the early 1900s. Surviving theatrical records place her in Le Secret de Polichinelle at the Théâtre du Gymnase in 1903 and as Suzette in Paris-New York at the Théâtre Réjane in 1907. Her fame increased considerably during the later years of the decade, and she became closely associated with the glamorous world of Belle Époque theater, fashion, and celebrity culture. She was repeatedly photographed by leading Paris studios and appeared in fashionable dress in the illustrated press. The portrait offered here is particularly appealing. Lantelme is shown in a close, softly modeled head-and-shoulders study, wearing an elaborately patterned off-the-shoulder gown, a necklace of large beads, and a decorative hair accessory. Her carefully arranged coiffure, direct gaze, and refined costume reflect the fashionable theatrical portraiture for which the Reutlinger studio became famous. A faint pencil notation along the upper reverse reads “Lantelme.” The Reutlinger studio was one of the major portrait photography establishments in Paris. The photographic business began with Charles Reutlinger in the mid-19th century and continued through Émile and Léopold Reutlinger. The New York Public Library records the studio as operating at 21 Boulevard Montmartre during the 1890s. Under Léopold Reutlinger, the studio became especially successful at photographing actresses, dancers, singers, fashionable women, and other celebrities of the Paris stage. Reutlinger photographs of performers survive today in important museum and archival collections.The Palais Galliera in Paris owns a Reutlinger portrait of Geneviève Lantelme wearing an evening gown by the celebrated couturier Doucet, specifically dated 1909; its reverse also carries a handwritten identification of Lantelme. The photograph of Lantelme presented for sale here, was taken circa 1909. SOLD
This handsome turn-of-the-century cabinet card presents Miss Cecil Vane, a British stage actress or theatrical performer. Vane is shown in a softly focused bust-length portrait, gazing directly toward the camera with a calm, serious expression. Her hair is arranged in a fashionable upswept style, and she wears a light-colored gown with a puffed sleeve, two delicate necklaces, and a ring on the hand supporting an abundant bouquet of daisy-like flowers and foliage. The portrait has the refined, romantic appearance associated with late-Victorian and early-Edwardian theatrical photography. The large bouquet dominates the lower half of the composition and provides an attractive contrast to Vane’s pale gown and finely modeled face. A faint “PROOF” mark appears within the lower-left portion of the image, indicating that this was a studio proof or sample copy rather than an ordinary retail portrait. Reliable personal information about Cecil Vane remains scarce. However, historical records and theatrical trade publications, including The Era, place her on the British stage during the late 1870s and 1880s, performing in music halls, variety entertainments, and pantomimes alongside other notable performers of the period. Her professionally printed identification and appearance before the prestigious Ellis & Walery studio further suggest that she had sufficient theatrical standing and public recognition to merit a formal publicity portrait. The photograph was produced by Alfred Ellis & Walery. The partnership brought together English theatrical photographer Alfred Ellis and Stanisław Julian Ignacy Ostroróg, who worked under the celebrated professional name Walery. Their Baker Street studio photographed actors, actresses, musicians, writers, royalty, and prominent society figures; the National Portrait Gallery associates the partnership with nearly 100 portraits. Walery was the son of a Polish-born photographer who had established successful studios in Paris and London, while Ellis had operated his own Baker Street studio from 1884. Museum records differ slightly regarding the precise years of their collaboration, but the partnership was active around the turn of the twentieth century and used the Baker street address printed on this mount. The ornate reverse advertises the firm’s “Day and Electric Light Studios,” states that it was established in 1884. Based upon the studio address, mount design, costume, and hairstyle, the portrait likely dates from approximately 1899–1905. SOLD
This elegant real photo postcard features the beloved English stage actress Phyllis Dare in a delicate, ethereal pose. She is seen wearing a romantic Edwardian ensemble with sheer puffed sleeves and a wide-brimmed hat lavishly adorned with roses and lace. Her long, wavy hair is styled in a thick braid that cascades over her shoulder, giving her a youthful, almost dreamlike appearance. Her gentle, serene expression—gazing softly toward the camera—captures the demure charm and poise that made her a favorite of Edwardian audiences and collectors alike. Printed by Rotary Photo, and numbered 4168 L, this card is captioned “MISS PHYLLIS DARE — ‘THE BELLE OF MAYFAIR,’” referencing her role in the popular 1906 musical comedy of the same name. She was photographed by Foulsham & Banfield, known for their high-quality theatrical postcards. Born in 1890 in London, Phyllis was introduced to the stage at an early age alongside her equally famous sister, Zena Dare. The sisters performed as children and quickly became stars of Edwardian musical comedy. Phyllis gained recognition in shows such as The Belle of Mayfair (1906), The Arcadians (1909), and The Girl in the Train (1910). While Zena later explored film and wartime nursing, Phyllis largely stayed devoted to the theater, where she enjoyed a long, graceful career. Though known for her delicate features and gentle stage presence, Phyllis Dare was a seasoned performer with an understated strength. Off-stage, she lived a quiet life and never married—dedicating herself fully to her craft. This postcard is unused and part of the Rotary Photographic Series, printed in England. (SOLD)
This beautiful vintage cabinet card portrait features a pretty and elegantly dressed stage actress from the Woodward Stock Company, posed in a three-quarter view with a composed yet engaging expression. Her elaborate upswept hairstyle is adorned with floral decorations and a dramatic plume, reflecting the height of late Victorian/Edwardian theatrical fashion. Printed at the lower margin is: “Compliments of the Woodward Stock Co., New Auditorium” along with “Photo by Matzen, Omaha.” The Woodward Stock Company was likely a resident theatrical troupe operating from the New Auditorium in Omaha, Nebraska, during the early 20th century. Such companies maintained a roster of actors performing a rotating schedule of plays, often distributing high-quality promotional photographs to fans and patrons. The photographer, James Matzen, was a well-known Omaha portrait artist active from the late 1890s into the early 1900s. He frequently partnered with Herman Heyn as Heyn & Matzen, official photographers for the 1899 Greater America Exposition. Matzen’s work, prized for its rich tonal range and refined lighting, appears in both theatrical publicity materials and historically significant portrait series, including Native American studies held in institutional collections. The image is printed on a sepia-toned mount with wide white borders, in very good condition with sharp detail and rich contrast. This is a fine example of regional theatre history and Midwestern photographic artistry. SOLD
This striking early-20th-century photographic postcard presents an elaborate staged scene featuring five young girls, one boy, and a pug-type dog. The children are arranged around what appears to be a cushioned bed or divan in a photographer’s studio, with flowers scattered through the composition and a painted backdrop behind them. The five girls wear beautifully detailed white Edwardian dresses decorated with lace, ruffles and large hair ribbons; several have extraordinarily long hair, adding considerably to the visual appeal of the image. In the center, a stout little pug sits upright on an ornate fringed cushion, wearing an impressive studded collar and harness and looking directly toward one of the girls. At the far right is the only boy in the group. He wears a sailor-inspired outfit, including a striped shirt and broad white sailor collar, and holds a long toy rifle vertically beside him. The juxtaposition of the delicately dressed girls, the heavily harnessed pug and the boy with his rifle gives the scene an almost theatrical or storybook quality. It may have been intended to represent children engaged in make-believe rather than an ordinary family portrait. The card was published as part of a series (no.325). The card was mailed in Belgium. The green stamp is a Belgian 1-centime Coat of Arms issue, a design introduced in 1893; catalog references place this particular Coat of Arms series in the 1893 period. The circular cancellation appears to read LIÈGE, so the card was apparently mailed from Liège, Belgium. This postcard was published sometime circa 1907. SOLD
This charming antique cabinet card photograph features a beautifully posed young girl seated in a carved studio chair. Captured by Myers J. Bucklin of Little Falls, New York, the image exudes turn-of-the-century elegance and innocence. The child gazes directly at the camera with a calm, composed expression. Her long, curly hair flows past her shoulders, topped by an oversized feathered hat adorned with a large bow. She wears a light-colored, eyelet-lace dress, along with a choker, pendant necklace, and a beaded bracelet. Her high-buttoned boots and dainty bouquet of flowers complete the enchanting portrait. The photographer, Myers J. Bullock, operated a well-regarded studio in Little Falls, NY, known for producing high-quality cabinet portraits like this one. The mounted photograph, including the decorative card stock, measures approximately 5 ¾ x 7 ¾ inches, while the actual image area measures about 3 ¾ x 5 ½ inches. The cabinet card is in good condition for its age, with some corner wear and light surface spotting typical of early 20th-century mounting cards. (SOLD)
Image 1 in this grouping features stage actress Rosina Vokes (1854-1894). She was the daughter of a London costumer. She came to America with her two older siblings and Fawdon Vokes to make a career in the theatre. Interestingly, Fawdon Vokes was not a member of the Vokes family. His name was actually Walter Fawdon, but the name change was necessary for him to join the family troupe. The group made their New York debut in 1872 in “The Belles of the Kitchen“. They played in a number of shows over time and from the beginning, Rosina was considered “infinitely the cleverest, the most bewitching” of the group. When she reappeared in America in 1885 with her own company, she was warmly welcomed. One paper wrote “she is still young, agile, slender and graceful; the piquant prettiness of her face and the droll charm of her manner still exert a strong influence on the susceptible spectator”. She toured with made-to-order productions, until shortly before her early death, at about, forty years of age. The New YorkTimes (1893) published an article entitled “Rosina Voke’s Serious Illness: It Deprives the Anglo-American Stage of One of its Brightest Ornaments”. The article favorably compares her to her other acting family members and reveals that Vokes had embarked on a voyage from America to England whose purpose was to allow her to die in her home country. The young actress was terminally ill with consumption (pulmonary disease). Judging by the content of the many obituaries that appeared in American newspapers after Rosina Vokes succumbed to her illness, the actress was a well respected and loved performer of the American stage. It is important to note that the Vokes theatrical family included a brother named Fred Vokes (1846-1888). He was an actor and a dancer. This cabinet card comes from the studio of famed celebrity photographer, Napoleon Sarony. To view other photographs by Sarony, click on Cabinet Card Gallery’s category, “Photographer: Sarony”.
The second photograph captures Rosina and her two sisters posing for an unidentified photographer. The sisters have been identified as Jessie (1851=1884) and Victoria (1853-1894). The reverse of the photograph indicates that the image was formerly part of the “Harold Seton Collection”. Who is Harold Seton? Research reveals that Harold Seton was best known for his work as a journalist, author and collector. He wrote about theatre and society in his column, Theatre Thoughts”, which appeared in Theatre Magazine. He accumulated over ten thousand theatrical photographs of actors and actresses who performed between 1870 and 1900. He donated some of his collection to the New York Historical Society and some are located at the Wake Forest University library, as well as a number of other institutions. A Harold Seton was a theatre actor who performed in eight plays between 1919 and 1935. Although I doubt that the two Harold Setons’ are the same men; no evidence could be found to determine if they were one and the same man.
The third image in this group is a carte de visite portrait of Victoria Vokes. The photograph was taken at the Broadway studio of Napoleon Sarony. Victoria was born in London and began her career at the Royal Surrey Theatre at just two years of age. Over time she played a variety of children’s roles in London theatres. In 1861 she appeared with her brothers and sisters at the Operetta House in Edinburgh as one of the “Vokes Children” (later changed to “The Vokes Family”. Victoria earned her early popularity with her voice but soon she was gathering acclaim via her acting. Her performance in “Amy Robsart” (1871) at Drury Lane Theatre is an example of one of her excellent exhibitions on stage. “The Cornell Daily Sun” (1890) wrote about an appearance by Victoria Vokes and her Company. The reviewer asserted that “Few actresses have appeared in Montreal whose genius is so versatile as that of Miss Yokes. She sings with a fine contralto of great power, dances like zephyr and acts in comedy — well, like one of the Yokes”.
Image 4 Up for auction is a fascinating, museum-quality piece of 19th-century theatrical memorabilia: an original 1883 cabinet card portrait of the beloved Victorian stage actress, comedian, and dancer, Rosina Vokes. The reverse side features a beautifully preserved, crisp fountain pen period inscription reading: “Yours Truly, Rosina Vokes. Boston, June 13th, 1883.” The front of the mount also displays her name neatly penned along the lower edge. The signatures are unauthenticated and priced accordingly. This specific card captures her during her highly successful 1879–1883 American touring years, permanently marked to a summer night performing in Boston. Adding immensely to its historical value, the reverse of this card bears the original property stampings of the famous Culver Service photo archive based in New York City. As one of the premier legendary historical media archives in the United States, the Culver Service preserved this exact inscribed card for decades, utilizing it as a master reference print for theatrical publications, retrospective articles, and early entertainment media. It is a true piece of documented archival history. The front of the card features a stunning oval-framed portrait capturing Vokes in an ornate, high-collared lace dress accented by a delicate beaded necklace. SOLD
This vintage real photo postcard features a street scene in Sparland, Illinois. The postcard pictures North Church Street. The dirt road, sidewalks, wood fences, trees, houses, and church provide an interesting street view. This postcard was photographed and L. E. Clark. His name was engraved on the negative of this card and is readily seen in the lower right quadrant of the card. The Cyko stamp box on the reverse of this postcard indicates that it was published sometime between 1904 and the 1920’s. SOLD
This vintage real photo postcard features John Philip Sousa (1854-1932). He was a renowned American bandmaster and composer of military marches. He grew up in Washington D.C. where he learned to play various band instruments. He also studied harmony and musical theory. In 1868, he enlisted in the Marines and apprenticed in the Marine band. He built a excellent reputation as a bandmaster of this group. In 1892, he formed hisown band and he toured the United States and the World. Sousa composed 136 military marches, His talent produced “Semper Fidelis” (1888), “The Washington Post” (1889), and “The Stars and Stripes Forever” (1897). He also wrote 11 operettas and more than 70 songs. Sousa redeveloped the bass tuba which became known as the Sousaphone. During World War l, he joined the U.S. Navy and headed it’s band training center. He later wrote three novels, musical instruction books, and an autobiography, “Marching Along” (1928). This postcard was published by Rotary Photo as part of a series (no.2537B). SOLD
This vintage real photo postcard features a view of Fire Place Lodge (FPL), in East Hampton, Long Island, New York. Fire Place Lodge was a girls’ camp overlooking Gardiner’s Bay. The camp operated between 1936 and 1972. The camp promoted Sports, the Arts, and Academics. FPL stood for Friendship, Purposeful Living, and Loyalty. This postcard was published by the Artvue Post Card Company of New York City. The postcard was postmarked in East Hampton in 1967. SOLD
