CUBA : MILK SELLER ON A HORSE : LECHERO : LAZARO (HAVANA) : OCCUPATIONAL POSTCARD

This is an interesting early twentieth-century Cuban postcard depicting a traditional milk vendor, or lechero, delivering milk on horseback. The image shows the rider seated calmly on a light-colored horse beside railway tracks, carrying large metal milk containers in saddle baskets. The scene captures a moment of everyday life in Cuba during a time when milk was commonly delivered door-to-door before refrigeration and modern dairy distribution. The printed caption at the bottom of the card reads: “CUBA — Lechero — Milk seller.” The fact that the caption includes English language, likely reveals that this postcard was meant to be sold to tourists who had a profound interest in occupational postcards. Postcards depicting occupational scenes such as this—milk vendors, street sellers, and other everyday trades—were especially popular with travelers visiting Havana during the early 1900s. The word “lechero” is the Spanish term for a milk vendor who transported fresh milk into towns and neighborhoods, often selling it directly to households. In many cities across Latin America and the Caribbean during the late nineteenth and early twentieth centuries, milk was delivered daily by riders or cart drivers who carried large metal milk cans similar to those visible in this photograph. A particularly interesting detail in this postcard is the pair of large metal milk cans secured in wooden carrying crates attached to the saddle. These containers were early transport milk churns designed to be tightly sealed to prevent contamination or spillage while traveling through town. In warm climates such as Cuba, milk sellers sometimes wrapped the cans with damp cloth or straw coverings to create a simple evaporative cooling effect that helped keep the milk fresh during the day. Milk vendors typically collected fresh milk early in the morning from nearby dairies and transported it into town in these containers. The milk was then measured and poured directly for customers, often using a smaller serving container carried along with the larger storage cans. Because refrigeration and pasteurization were not yet widespread, the milk was meant to be sold and consumed the same day. Note that there is a sign over the window in the building seen in this postcard. “Mina” can be translated as “mine” or a “mining facility”. Likely related to the mine is the railroad tracks running along side the building. The publisher of this lithographic postcard was M. Lazaro. He was located on Obispo Street in Havana. Obispo Street is one of the city’s most historic commercial streets and a well-known center of tourist shops, photographers, and postcard dealers during the early twentieth century. A Cuban one-centavo green stamp appears on the reverse of the card. The postcard is postmarked Bordeaux, France, indicating that the postcard was mailed internationally. The postcard remains in good antique condition overall with strong photographic detail and clear printing. There is general age toning and light handling wear. There is minor corner wear. The stamp remains attached on the front with a visible postal cancellation. The reverse shows the original message and address in ink along with the printed Cuban postal markings. Overall, this is an appealing and historically interesting occupational postcard documenting a traditional milk delivery scene in early twentieth-century Cuba (see scans).

This postcard is available for purchase at my store, The History Peddler, for $18.00

Interested collectors may view the listing here:

https://www.ebay.com/itm/236708188277

Published in: on March 28, 2026 at 12:00 pm  Leave a Comment  

CARTE de VISITE : WOMAN PORTRAIT : AUG HARALDSSON : CHRISTIANIA, NORWAY c1880s

This is a beautiful carte de visite portrait of a young woman taken by photographer Aug(ust) Haraldsson of Christiania, Norway (now Oslo). The sitter is elegantly posed in three-quarter view, looking slightly off to her right with a calm and reflective expression. Her light eyes and delicate features are sharply captured, giving the image a quiet dignity and presence. She wears a high-collared dark dress or jacket with a velvet bodice, secured at the throat with an ornate round brooch featuring a dangling chain. Her hair is fashionably short and softly curled, framing her face in a way that was in vogue during the 1880s–1890s. A small earring is visible in her left ear, adding a subtle touch of refinement. The overall impression is one of youthful poise and gentle elegance. The photographer’s imprint appears on the front mount and in elaborate gold script on the reverse, which reads: “Aug. Haraldsson, Nedre Slotsgade 19, Hjørnet af Carl Johansgade, Christiania.” Haraldsson was an established portrait photographer in Christiania, operating from this address in the late 19th century.  (SOLD)

Published in: on March 28, 2026 at 11:30 am  Leave a Comment  

PRETTY YOUNG WOMAN : J.B. PEARLSTIEN : BROOKLYN NY : VINTAGE PHOTOGRAPH

This photograph is mounted on a textured cabinet card mount measuring about 6.25 by 9 inches, with the photographic image itself measuring about 4 by 5.5 inches. The mount features a decorative crest emblem printed near the lower left corner, while the photographer’s imprint (J. B. Pearlstien) appears at the lower right.The studio address places the studio in the Greenpoint neighborhood of Brooklyn, an area that experienced substantial industrial and residential growth during the late nineteenth and early twentieth centuries. Greenpoint developed into a busy working-class district with factories, shipyards, and immigrant communities. Pearlstien was a talented photographer. The refined composition, elegant lighting, and carefully arranged pose suggest the work of an experienced studio photographer. Portraits of this style were particularly popular between about 1905 and 1915, when cabinet card mounts were still used but photographic formats were gradually shifting toward smaller prints and postcards. Here is some information about the photographer. Julius Bernhardt Pearlstien is listed in Trows Business Directory of the Boroughs of Brooklyn and Queens (1899) as operating a photography studio at 39 Greenpoint Avenue in Brooklyn. He was born sometime between 1877 and 1879. Pearlstien became a US citizen in 1900 while living in Brooklyn. He registered for the draft (World War I) in Brooklyn in 1917. In regard to condition, the photograph itself remains clear and well preserved, with good contrast and pleasing tonal range. The image has surface wear at its center bottom. The mount shows age-related wear consistent with its age, including light toning and handling marks. There is a small chipped corner at the upper left of the mount, along with minor edge wear. The reverse shows areas of surface disturbance where an old album mount or adhesive may once have been present. Despite these signs of age, the cabinet card remains an attractive and displayable antique portrait, with the image itself remaining strong and visually appealing (see scans).

This cabinet card 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/236689841541

Published in: on March 27, 2026 at 12:00 pm  Leave a Comment  

FLORENCE KENDALL : BAS-RELIEF : ACTRESS POSTCARDS : SCOPES & CO LONDON : c1910

POSTCARD 1 (SOLD)

POSTCARD 2 (SOLD)

Postcard 1 is a striking Edwardian “Bas-Relief” theatrical portrait featuring English stage performer Florence Kendall, who appeared in musicale and dramatic productions in the early 20th century. The image beautifully captures the soft romanticism of pre-WWI theatrical photography, when actresses were often posed in dreamy, poetic attitudes to reflect elegance, youth, and refinement. Florence Kendall appears here in a gentle three-quarter pose, her head gracefully tilted as she gazes toward the camera with a quiet, introspective expression. Her long dark hair flows loosely over one shoulder, tied with a soft white ribbon at the back — a style aligned with Edwardian ideals of natural feminine beauty. She wears a sheer, light-colored gown with delicate lace or embroidered detailing at the neckline and sleeves, giving the portrait an ethereal, almost fairytale quality. The overall impression is one of youthful grace and gentle charm. The postcard is part of the “Bas-Relief” series, patented in 1908, a premium card type created to mimic low-relief sculpture. The photographic surface creates subtly raised tonal depth, giving the sitter a more dimensional, sculpted look compared to ordinary flat postcards. These special cards were marketed as high-quality portrait editions and are collected today for their unique visual effect and heavier, cabinet-card-style feel. Published by Scopes & Co. Ltd. (London), a known early 20th-century publisher specializing in theatrical and novelty cards. The patent imprint (Pat. No. 4523/08) helps date this card firmly to the late Edwardian era (ca. 1908–1915). The reverse carries a charming handwritten message and original King George VI red “1d” postage stamps. The message reads: “Dear A & all, We arrived home O.K. & enjoyed coming, shall come again soon. We missed bus at Gainsborough. Had to wait till 7:30. So cheerio. Lots of Love”.  (SOLD)

Postcard 2 is a striking early theatrical portrait featuring Kendall in an expressive pose and flowing gown, capturing the soft, romantic theatrical style that defined Edwardian theatre photography. The image shows Kendall in a full-length pose wearing a delicate white dress with lace and ribbon accents. Her soft profile, long loose hair and period costume make this an elegant study typical of British theatrical postcards before World War I. (SOLD)

POSTCARD 1

POSTCARD 2

Published in: on March 27, 2026 at 11:30 am  Leave a Comment  
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THREE ADORABLE CHILDREN : SPAMER & SPIER : NEW YORK : CABINET CARD 1891-1902

This is a charming late-nineteenth-century cabinet card portrait of three adorable young children, photographed by the New York City studio of Spamer & Spier. The portrait presents two little girls and a young boy posed together in an elegant studio setting, creating a delightful and carefully composed family image typical of the Victorian period. The photographer has arranged the children around a decorative studio pedestal and backdrop. One girl sits atop the pedestal while another sits below on a fur-covered studio prop. The young boy stands beside them wearing a tailored jacket with a large bow tie, giving him a slightly more formal and grown-up appearance. One especially appealing detail is the small stick or rod the boy is holding. This object was likely a studio posing stick or decorative prop, sometimes used by photographers to help steady young subjects or simply to give children something to hold so they would remain still during the exposure. It may also resemble a child’s riding crop or toy baton, both of which were occasionally used in portrait studios as props to convey a sense of confidence or playfulness in young sitters. The cabinet card mount itself features attractive scalloped edges, a decorative style that became popular toward the late 1880s and early 1890s.  Spamer & Spier operated their studio between 1891 and 1902 and during that time, this cabinet card was produced. The studio was located in upper Manhattan along Third Avenue in the Harlem district. Photographic studios in this area served the rapidly growing population of northern Manhattan during the late nineteenth century. This cabinet card remains in excellent antique condition. The photograph retains good contrast and clarity, and the children’s faces are nicely rendered. The decorative scalloped edges remain intact and attractive. The reverse of the mount is blank. Overall, this is a very appealing and well-preserved Victorian cabinet card portrait (see scans). 

This Cabinet Card is available for purchase at my store, The History Peddler, for $48.00 or best offer.

Interested collectors may view the listing here:

https://www.ebay.com/itm/336496805526

Published in: on March 26, 2026 at 12:00 pm  Leave a Comment  

A CURIOUS BOY : LEHNERT AND LANDROCK : EGYPTOLOGY : ETHNOGRAPHY : RPPC

This photogravure vintage postcard features a culturally evocative scene: a woman seated indoors near a barred window, partially draped in cloth and adorned with large hoop earrings and a headscarf. She gazes toward a young boy outside the window, who peers in with curiosity. The boy wears traditional attire and a cap, adding to the ethnographic charm of the composition. The room is softly lit, with a curtain drawn to the side, enhancing the intimate and contemplative mood. This postcard, entitled “A Curious Boy” was published by the celebrated ethnographic photography firm, Lehnert & Landrock as part of a series (No.223). The company was located in Cairo Egypt. Rudolf Franz Lehnert (1878-1948) & Ernst Heinrich Landrock (1878-1966) were the principals of the firm. Lehnert was of German origin, while Landrock was from Bohemia. The pair met in Switzerland and decided to go into business together. Lehnert was the photographer and Landrock was the administrator. Landrock organized trips, managed the photo studio and photo production, and marketed the photographs and prints. They were photographers in Tunis and in Egypt, They also opened studios in Munich (Germany) and Leipzig (Germany).  They produced many photographs from Egypt and Tunisia. Their first studio was in Tunis. They photographed monuments and sites in those countries, but were most known for their erotic images of Arab women, often posing in harem themes. Sometimes the photographers seemed more concerned about producing erotic photographs rather than documenting everyday life in these Middle Eastern countries. Lehnert and Landrock were well acclaimed for their work and the duo have images in a number of museums, including Philadelphia’s Penn Museum an the Musee de l’elysee in Lausanne, Switzerland. (SOLD)

HUNTINGTON TOWN HALL : LONG ISLAND, NEW YORK : TOMLIN : VINTAGE POSTCARD c1939

This vintage real photo postcard features the Huntington Town Hall located on Main Street in Huntington village. Huntington is a north shore town on Long Island in the state of New York. Note the old cars in the photo. Because the newest cars in the image appear to date from about 1938–1940, the photograph itself was likely taken around 1939–1941. The postcard was published by the Tomlin Art Company (Northport, Long Island, New York). The company produced a large number of scenic postcards of Long Island and nearby areas.   The firm was associated with Milton (“Milt”) Price, a photographer from Islip, New York, who owned and operated the Tomlin. Price himself photographed many of the scenes that appeared on the cards. The firm appears to have been active between circa 1910 and the late 1970s. There is a very light crease in the top left corner of the card. The postcard is in overall very good condition (see scans). 

This postcard is available for purchase at my store, The History Peddler, for $9.85 or best offer 

Interested collectors may view the listing here:

https://www.ebay.com/itm/236689001981

Published in: on March 25, 2026 at 12:00 pm  Leave a Comment  

WELSBACH FACTORY : RAILROAD MANTLE WORKERS : GLOUCESTER NJ : VINT POSTCARD 1907

This early 20th-century lithographic postcard offers a fascinating window into American industrial history. The scene depicted shows the Welsbach Factory in Gloucester, New Jersey, where women are seated at long wooden worktables manufacturing gas mantles for railroad car lighting. These mantles were used in Welsbach gas lamps, which produced brilliant light before the widespread adoption of electricity. The image—clearly a lithographic print rather than a real photo—shows dozens of women, most dressed in white blouses and long skirts, working with concentration under bright overhead lighting. One woman is seen turning a crank on a mechanical device, while others place mantles in organized rows. The factory setting is clean, orderly, and filled with wooden furniture, boxes, and workstations. Several men are visible supervising or moving through the workshop. This undivided-back postcard carries the printed caption: “Welsbach Factory, Gloucester, N.J. Making Mantles for Railroad Car Lighting.” On the reverse side, a vertical promotional message from the Welsbach Company reads: “Our salesman will call upon you on or before _________ Welsbach Company.” This clearly identifies the postcard as a business advertising card, likely distributed by Welsbach to customers or wholesalers as part of their sales strategy. This postcard is postmarked 1907, which falls in the final years of the undivided back era in U.S. postcards (1901–1907). It features a green Ben Franklin one-cent stamp, consistent with domestic postcard postage at the time. The card’s message and address are both written on the front, as was standard practice before divided backs were permitted for message writing. The Welsbach Company, founded in the late 19th century, was named after Carl Auer von Welsbach, an Austrian chemist and inventor of the gas mantle. The Welsbach Company became one of the primary manufacturers and distributors of these mantles in the United States, with major production facilities in Gloucester, NJ. The Gloucester plant employed many women and helped revolutionize gas lighting for residential, industrial, and transportation use—especially in street lamps and railway cars. Welsbach mantles used rare earth elements to produce an intense white glow when heated by a gas flame. The company played a key role in the history of gas illumination before the electrical grid became dominant.  (SOLD)

CHURCHILL’S RESTAURANT : VAUDEVILLE : GARDINER TRIO : NEW YORK CITY : POSTCARD

This rare vintage lithographic postcard captures vaudeville history as well as the restaurant and entertainment history of New York City. The postcard is an advertisement for the appearance of the Gardiner Trio at the venue of Churchill’s restaurant. The Gardiner trio was composed of Arline, Helen, and Edgar Gardiner. The three performers acted, danced and sang on the vaudeville stage. The trio even appeared on Broadway in the production of “Take it from Me” (1919). The New York Tribune reviewed the show. Here are a few excerpts from the review. The show was described as “mildly entertaining” and “a curious jumble of Burlesque, Vaudeville and Musical Comedy”. The production ran from 3/31/19 to 6/21/19 at the Central Theater. Now, a short description of Churchill’s Restaurant. The establishment blended restaurant service with live entertainment. It was located in Manhattan’s theater district. The restaurant was in Times Square and was founded by James “Big Jim” Churchill, a colorfull New York figure who had previously served about twenty years in the New York Police Department. He established Churchill’s in around 1909 or 1910. The restaurant/cabaret closed in around 1921. Prohibition was a large contributor to the restaurant’s demise. This postcard is in fair condition. The card has corner and edge wear and about four light creases can be seen on close examination. The fair condition does not detract from either the image of the trio or from the advertising copy on the front of the card (see scans). My research was unable to find any other examples of postcards advertising either Churchill’s or the Gardiner Trio. This postcard is an excellent illustration of both New York City and Vaudeville history.

This cabinet card is available for purchase at my store, The History Peddler, for $24.85 

Interested collectors may view the listing here:

https://www.ebay.com/itm/336496805527

Published in: on March 24, 2026 at 12:00 pm  Leave a Comment  

RISQUE FRENCH NEW YEARS POSTCARD : PRETTY WOMAN : SEE-THROUGH TOP : RPPC

This attractive vintage French postcard features a hand-colorized portrait of a young woman — her hair softly waved, her features delicate, and her expression warm and gentle. She tilts her head slightly and raises one arm, resting her hand near her ear, holding a rose (colorized in vivid pink) against her cheek. The soft hand-tinting gives the card a dreamy, romantic feel: gentle blush on her cheeks, subtle color in her lips, and pastel tones in the background. The fashion and style — the wavy hairstyle, the jewelry, and the sitter’s graceful pose — evoke early 20th-century glamour. In the upper right of the image side appears the gilded greeting “Bonne Année” — a New Year’s wish, adding charm and purpose to the card. The card’s publisher imprint in the lower left reads SUBAR 155-PARIS. The reverse carries a handwritten message and address in French (see translation). “Best wishes and greetings — Marthe”. The card is marked “SUBAR 155-PARIS.” Unfortunately, I was unable to locate reliable reference material definitively describing a postcard house named “SUBAR.” That said, the card’s style — hand-colored portrait, gilded greeting, Paris imprint — is consistent with many small-scale French postcard producers from the pre-WWI and interwar periods, when dozens of modest workshop-publishers issued commemorative and greeting cards for domestic distribution. (SOLD)

Published in: on March 24, 2026 at 11:30 am  Leave a Comment