THE CABINET CARD GALLERY

This is a WWII German “Sterbebild”, or death memorial card, honoring the life and sacrifice of Gefreiter (Corporal) Josef Thalhammer, who died on December 10, 1943, at the young age of 20, during combat in Russia. These cards were distributed to family, friends, and community members in memory of fallen soldiers. They are a poignant part of wartime German culture, often saved in family Bibles or photo albums. The front side features a portrait photograph of Thalhammer in his military uniform. His expression is youthful yet solemn, with a calm, determined look in his eyes. He wears the field cap and tunic of a Wehrmacht soldier, with visible insignia including the eagle-and-swastika emblem over the right breast pocket and collar tabs typical of an enlisted man in a Grenadier regiment. Below the photograph is a brief obituary: ” In Memory in Prayer of our dear son and brother Josef Thalhammer, son of a farmer from Westerskirchen, Gefreiter in a Grenadier Regiment, who on December 10, 1943, at the age of 20, met a hero’s death in Russia.” A poem follows, expressing grief and remembrance for a young hero buried in a distant field, ending with a reference to a brother who also died before him. The reverse side displays an illustration of a German soldier’s grave in the woods, marked with a cross and helmet. The inscription reads: “Gefreiter Josef Thalhammer killed on 10.12.1943 He was dear to us in life, we will not forget him even in death. The card is printed by Gebr. Geiselberger, Vilsbiburg (a Bavarian print house known for producing such cards), and bears the code HCoM 109. What are these cards? Known as “Sterbebilder” or “Totenbildchen”, these small memorial cards were traditionally printed in Germany, Austria, and Catholic regions of Europe. During WWII, they were commonly issued for fallen soldiers and distributed at memorial services or mailed to relatives. They typically feature a portrait of the deceased on one side and a prayer, obituary, or poem on the reverse. (SOLD)

This appealing real photo postcard captures a lively outdoor scene of two young women posed with their bicycles while standing on a small wooden footbridge in what appears to be a rural park or countryside setting. The photograph presents a relaxed moment of recreation from the early twentieth century and reflects the growing popularity of cycling as both sport and leisure during this period. The two women stand side by side on their bicycles facing the camera. Both wear light-colored cloche-style caps or bathing caps, a fashionable accessory of the 1920s that helped keep hair neatly in place during outdoor activities. The woman on the left smiles broadly, giving the image a cheerful and spontaneous feeling. She wears a cardigan-style jacket over a dress or skirt, her hands comfortably resting on the handlebars as she balances the bicycle on the bridge. Her companion on the right wears a loose striped dress with wide sleeves, a garment that reflects the relaxed silhouettes typical of the flapper era. Her expression is more reserved, though still friendly, as she looks directly toward the camera. Both women appear confident and self-assured, embodying the increasingly independent spirit of young women in the 1920s who embraced new freedoms in fashion, mobility, and recreation. The bicycles themselves are classic road bicycles of the era with upright handlebars and narrow tires, and the wooden bridge beneath them—constructed with simple railings and planked boards—adds a picturesque quality to the composition. Behind them a sloping grassy bank and dense trees frame the scene, suggesting a quiet country lane or park pathway. The reverse of the card shows the imprint “LEONAR 4365.” The Leonar name refers to photographic postcard paper manufactured by Leonar-Werke Arndt & Löwengard of Wandsbek near Hamburg, Germany, a company active from the early twentieth century until its later merger with Agfa. Leonar postcard papers were widely used throughout Europe and were particularly common from roughly the 1910s through the 1930s. The photographer of this photo could have been a local studio or even an amateur photographer. Based on the women’s clothing, their caps, and the casual outdoor sporting theme, this photograph was most likely taken in the 1920s, during the height of the cycling and outdoor recreation craze of the interwar period. SOLD

This is a wonderful 1890s theatrical cabinet card photograph by the Stein Studio of Milwaukee, Wisconsin. The photo shows a costumed actress identified on the reverse as “The Widow.” This refers to the role of Mrs. Guyer, the fashionable widow character from Charles H. Hoyt’s smash-hit musical farce A Trip to Chinatown, one of the great Broadway successes of the Gilded Age. A Trip to Chinatown opened in New York in 1891 and became the biggest theatrical hit of its era, running for a record-breaking 657 performances. Its success led to multiple touring companies traveling throughout the United States, including major Midwestern theater cities such as Milwaukee. The character identified here as “The Widow” was one of the central figures in the play. Her full character name was Mrs. Guyer, a wealthy, stylish, independent widow from Chicago whose presence helps drive the comic plot. The role was originally created by Anna Boyd, a noted Gilded Age stage actress and comedian. While this photograph is not conclusively identified as Boyd, the connection is very intriguing: Boyd was the actress most closely associated with the role, and she is known to have performed with touring companies of the play during its period of national popularity. In comparing the appearance of the actress in this photo to confirmed photographs of Anna Boyd, I am unable to confirm or deny that it is Miss Boyd in this image. The photographer, Simon Leonard Stein,  further supports the theatrical connection. Stein Studio was a prominent Milwaukee photographic studio, and visiting actors, singers, and performers often sat for local studio portraits while appearing at major theaters such as the Davidson Theatre or Grand Opera House. Stein operated from the address on the mount from 1880 through 1895. This cabinet card likely dates from the period when A Trip to Chinatown was touring nationally, approximately circa 1892–1895. SOLD

This attractive original 1910 color art print is titled “Out for a Spin.” It was published by The T. D. M. Co. of Red Oak, Iowa, better known as the Thomas D. Murphy Company, one of the major American producers of advertising art calendars and decorative printed images. The image beautifully captures the romance of the early automobile era. Two fashionable women ride in a bright red open touring car, with brass lamps, a large steering wheel, leather upholstery and the open-air feeling of early motoring. The most interesting feature is that the woman on the left is clearly shown driving the automobile, while her companion sits beside her with a flowing green scarf. The art print has a caption, “Out For A Spin” and the artist is identified as “Arthur”. The Thomas D. Murphy Company was highly important in the American art calendar industry. The National Register nomination for the company’s Red Oak factory states that Thomas D. Murphy was closely associated with the creation and expansion of the advertising art calendar industry, and that his Red Oak manufacturing facility became the largest of its kind in the world. The same source notes that Murphy personally selected artwork for calendar subjects and cultivated relationships with artists whose work appeared on Murphy calendars. The company also had a direct connection to automobile culture: Murphy’s own interest in motoring led him to publish automobile travel books beginning in 1908. This small print dates from just two years after the introduction of the Ford Model T in 1908, placing it squarely in the period when automobiles were still novel, stylish and closely associated with modernity and adventure. The print measures approximately 5¼ x 3¾ inches. SOLD

This original vintage black-and-white photograph was taken by noted Cleveland photographer Jimmy Baynes, whose stamp appears on the reverse. The photograph shows a large group of well-dressed African American women posed together indoors, likely at a social gathering, club meeting, church event, school function, or community organization event. The women are beautifully dressed in 1950s/early 1960s fashions, including tailored dresses, plaid skirts, sweaters, jewelry, high heels, and carefully styled hair. Several women are seated in front while the rest stand behind them, creating a lively and attractive group portrait with excellent facial detail throughout. Based on the hairstyles, clothing, room setting, and photographic style, I would date this to approximately the late 1950s to early 1960s. Jimmy Baynes was a prolific photojournalist and chronicler of Cleveland’s African American community during the mid-20th century. His work documented civic events, political gatherings, cultural programs, entertainment, and the everyday lives of African Americans in Cleveland. Originally a postal worker, Baynes pursued photography as a passion and ultimately founded Baynes Foto Service. His photographs captured the vibrancy of African American social life from the 1950s through the 1980s, including intimate gatherings, beauty contests, live music performances, political events, and community celebrations. Baynes photographed major figures in music and entertainment, including Aretha Franklin, Louis Armstrong, Count Basie, Mahalia Jackson, Louis Jordan, Jerry Lee Lewis, the Platters, and the Drifters. His work is recognized today as an important visual record of Cleveland’s African American community and is valued by collectors of African American history, press photography, entertainment photography, and local Cleveland history. The Rock and Roll Hall of Fame and Museum Library and Archives in Cleveland holds a collection of Baynes photographs, especially relating to music and entertainment. The candid but posed composition reflects Baynes’s ability to capture people within civic and cultural spaces, preserving not only the appearance of an event but also its social energy. SOLD

This vintage real photo postcard features British film actress, Queenie Thomas (1898-1977). She was married to British director Bertram Phillips. As an actress, she is most associated with  “Rock of Ages (1918), and “Trousers” (1920), and “The School for Scandal” (1923). Her IMDb filmography gives her 42 film appearance credits ranging from 1915 to 1930. This photo postcard shows Miss Thomas posing with a horse. She appears to be holding the reins and is wearing riding gloves. She is also wearing a great smile. Note her braids. This postcard was published by Beagles Postcards as part of the “Famous Cinema Star Series” (No.145A). This color tinted bas relief postcard was “Made in England” but appears to have been printed by C H. Kiat & Co of Singapore. A bas rlief postcard raises the portrait to create a three-dimensional effect.  There are Pinholes in the top right and bottom left corners of the card. SOLD

This antique photo postcard captures a lively beach scene from the early 20th century. The title, “Scène de bains”, translates to “Bathing Scene” in English. The image showcases a seaside location where people are wading and bathing in the water, wearing modest period-appropriate swimwear. Two women in the foreground stand in the shallow waves, dressed in early 1900s bathing suits, which feature knee-length designs with decorative trim. One of the women has her hair styled in an updo, while the other wears a bathing cap. Their expressions are calm as they look toward the camera. Behind them, a row of bathing machines, or small wooden huts on wheels, line the shore. These mobile changing rooms, common in the Victorian and Edwardian eras, were used for privacy when entering the water. Several people are seen sitting in the doorways of these huts, while others are stepping out into the sea. Further in the background, many beachgoers are seen enjoying the water, with a long pier or breakwater extending into the distance, possibly indicating a well-frequented beach resort. The reverse side of the postcard features handwritten cursive writing, addressed to “M. Henri Beughem” at Antwerp, Belgium. The message, written diagonally across the left side, appears to be a signature or brief note. A Belgian postage stamp, valued at 1 cent, is affixed in the upper right corner. The postmark is dated 1912, confirming that this postcard was mailed over a century ago. Printing on the reverse reveals that the postcard was published by A. S. in Forest-Brussels, Belgium.

This exceptionally attractive late-Victorian cabinet card presents two fashionably dressed young women posed together in an elaborate studio setting. One woman is seated at the left while her companion stands beside a richly carved architectural prop. Their hands meet at the center of the composition in a deliberate and affectionate clasp, creating a feeling of closeness rarely conveyed so clearly in formal nineteenth-century studio portraiture. Whether they were sisters, relatives or especially close friends is unknown. Both women wear remarkably elaborate period clothing. The seated woman’s full-length striped dress is particularly eye-catching, with a fitted bodice, high collar, decorative neck treatment, and a generously draped skirt. Her companion wears a darker fitted dress embellished with floral-patterned trim, numerous buttons, and a prominent light-colored bow. Both women are crowned with exceptional hats lavishly decorated with flowers, feathers, and fabric ornamentation. The women also appear to be wearing gloves or decorative hand coverings. The standing woman’s covering resembles a fingerless glove or gauntlet that leaves her fingers exposed. The seated woman’s hand in her lap appears to be gloved, although the precise construction is somewhat difficult to distinguish from the extended cuff of her sleeve. The studio setting is unusually detailed. The women pose against a painted urban or architectural backdrop, surrounded by a massive carved balustrade ornamented with scrollwork and grotesque or lion-like faces. Draped fabric, simulated masonry and artificial grass complete the scene, giving the portrait a grand, almost theatrical atmosphere. This photograph was taken at the Staiger studio in Michigan City, Indiana. The Indiana Album’s Directory of Indiana Photographers confirms that Staiger was a studio owner or partner in Halladay & Staiger in 1887, and later in Jungerman & Staiger during the 1890s. Unfortunately, the historical directory has not yet established Staiger’s first name. Professionally, the available evidence places him firmly within Michigan City’s commercial photography trade from at least 1887 into the 1890s. SOLD