THE CABINET CARD GALLERY

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The beautiful actress seen in these vintage real photo postcarda is named Ossi Oswalda (1897-1947). She was born in Germany and appeared predominately in silent films. She was a leading lady, popular comedienne,  dancer, and singer. Due to her popularity, she  was known as “the German Mary Pickford”. Ossi began her career as a ballerina and she danced in a chorus line for a theater in Berlin. She made her film debute in “Night of Horrors” (1916) and was noticed by actor/screenwriter Hanns Kraly, who introduced her to director Ernst Lubitsch. Oswalda’s early career began with appearances in several Lubitsch films. In 1921, she and her husband started a film production company that produced four films over four years, all starring Miss Oswalda. After 1925, she was under contract to UFA, a German film company. After the transition to “talkies”, Oswalda joined the ranks of actresses and actors, who’s career took a nose dive. She only acted in two sound films. Her final screen appearance was in “The Star of Valencia”. She then began acting on the stage. She appeared in operettas in Germany and Vienna. When the National Socialists took power in Germany, she emigrated to Prague with her “Jewish life partner”, Julius Aubenberg. In 1943, she wrote a story for a Czechoslovakian film. In summarizing Ossi’s career, the IMDb credits her with 51 film appearances,  producing 5 films, and 1 screen writing credit. It is reported that she frequently played child-like spoiled women. She appeared in drag in at least one film. Oswalda’s first marriage (1919-1925) was to a Hungarian baron. After her divorce, the actress began a highly publicized romantic relationship with Crown Prince Willhelm (1882-1951). Simultaneously, the actress Lily Damita, was having an affair with the Prince’s son. The royal family put a kibosh to both “inappropriate” relationships. In 1947, she died in Prague at age 48, bankrupt and suffering from multiple health problems. 

Image 1 : This German real photo postcard is published by Ross Verlag soemetime between 1919 and 1924. The photograph of Miss Oswalda was taken by Becker & Maass of Berlin. Note her pretty hat and fan. Hopefully, she wasn’t allergic to feathers. Oswalda was young when this photograph was taken. She was beautiful and no older than 27 years of age. 

 Image  2 : features Miss Oswalda in a very skimpy costume. Her feathered hat is quite showy . She has a wonderful smile and pretty eyes. This risque postcard was part of  a series (no. 1050/2) and published by Ross Verlag of Berlin, Germany. The logo of UFA, a German film company, appears on the lower right hand corner of the postcard. The reverse of the postcard reveals that that the photographer is Strobl J. Nandor of Budapest, Hungary. (SOLD)  

Image 3 is a German real photo postcard that was published by Ross Verlag. Miss Oswalda’s photo was taken by celebrity photographer Alex Binder.   (SOLD)

Image 4 captures Miss Oswalda looking amused. She is flashing a wonderful smile. This postcard was published by Ross Verlag of Berlin, Germany (no.474/2).   (SOLD)

Image 5 captures Miss Oswalda in a provocative pose. She is wearing a short skirt resulting in quite a leggy photo. Posing her with her hands on her hips was aimed at being suggestive. This risque postcard was published by Ross Verlag of Berlin, Germany (no.483/1). The photographer of this portrait of Oswalda was celebrity photographer Alex Binder.  (SOLD)

Image 6  is published by Ross Verlag as part of a series (No.483/2). Miss Oswalda’s photo was taken by celebrity photographer Alex Binder. (SOLD)

This rare and compelling cabinet card features a seated gentleman captured in a studio portrait by A. Lane of Pike, New York. Dressed in a neatly tailored three-piece suit typical of the late 19th century, the man appears dignified and composed. His hair is neatly parted, and his mustache is groomed in the popular style of the 1880s–1890s. He gazes directly at the camera with a calm, steady expression that conveys quiet strength and perhaps a touch of solemnity. What makes this image especially unusual—and visually and historically significant—is the clear presence of a pair of wooden crutches, propped deliberately beside him. One of his pant legs seems to be pinned up or tucked under, and the seat of the chair appears reinforced to support his position. This inclusion was not an accident; it signals either a permanent injury or disability, and it is an uncommon—though not unheard of—subject for studio portraiture of the era. While the vast majority of cabinet card portraits aimed to present subjects in idealized, able-bodied form, this portrait stands out for its honest, unflinching portrayal of physical limitation. The man holds a small book or journal in one hand, resting it on his knee, adding a sense of intellect or introspection. The studio backdrop is a hand-painted forest landscape, softly blurred, which was typical for the period and intended to lend a genteel, artistic tone to the portrait. The photograph is credited to Alonzo Lane of Pike, N.Y.—a small-town photographer whose surviving work suggests a practiced hand in capturing both traditional and occasionally unconventional portraiture. Although detailed biographical records of Lane are scarce, photographers in small rural towns often wore multiple hats, acting as documentarians of local families, businesses, and important events.  Alonzo Lane truly wore multiple hats. In addition to being a photographer; he was also a dentist. One source states that Lane moved to Pike in the late 1880’s, Pike, New York, located in Wyoming County in western New York, was a small rural village in the late 19th century. In the 1890s and early 1900s, Pike was a quiet agricultural community, primarily composed of farmers, tradespeople, and small-town professionals. It had a modest population and relied heavily on local commerce and farming. Pike is 55 miles west of Buffalo, NY. It is unusual to see crutches in cabinet card photographs. Most subjects and photographers at the time sought to present individuals in their best light, often omitting or hiding physical impairments. When mobility aids like crutches, canes, or prosthetics are visible, it typically signifies a deliberate choice by the subject or photographer and is valued by collectors for its historical honesty and rarity.  (SOLD)

This colorful mid-century postcard features a Trans-Texas Airways Starliner flying low over the San Jacinto Monument, one of the most important historical landmarks in Texas. The dramatic aerial view shows the aircraft banking gracefully above the monument and surrounding parkland, with waterways and open terrain stretching into the distance—an image that perfectly captures the optimism and romance of early commercial aviation. The airplane depicted is a Douglas DC-3, one of the most influential passenger aircraft ever built. Introduced in the 1930s, the DC-3 revolutionized air travel by making it reliable, comfortable, and economically viable for airlines. By the 1940s and 1950s, the DC-3 had become the backbone of domestic air service in the United States, admired for its durability and distinctive silhouette. The airline shown, Trans-Texas Airways, began operations in the 1940s as a regional carrier serving cities throughout Texas and neighboring areas. Known for its friendly branding and Lone Star imagery, the airline played an important role in connecting smaller communities before the rise of major jet carriers. Trans-Texas Airways later evolved into Texas International Airlines, becoming a significant part of American aviation history. The postcard’s printed caption on the reverse explains that the San Jacinto Monument commemorates the Battle of San Jacinto (1836), where Texas secured its independence from Mexico. The pairing of the monument with a modern airliner reflects a mid-20th-century theme frequently used in postcards: blending historical pride with contemporary technological progress. The postcard was produced using Plastichrome printing, a high-quality color process known for its saturation and sharp detail. The card was published by Colourpicture Publishers (Boston), a major American postcard publisher active from the 1940s through the 1960s. The reverse includes Trans-Texas Airways branding and the postcard number P1496. SOLD

This is a striking large-format cabinet card photograph measuring about 4 by 7 and 5/8 inches. The portrait features a pretty young woman seated with one arm resting elegantly on a patterned armchair with a decorative tassel. She wears a dark velvet dress with a floral pattern, adorned at the collar with white lace ruffles. A long chain with attached ornament hangs from her bodice, and she also wears several rings and a bracelet visible on her wrist, suggesting refinement and some measure of fashion consciousness. Her hair is styled up and softly curled, framing her face neatly. The sitter’s expression is poised and serious, with a calm but direct gaze that meets the camera. Her look conveys dignity and self-possession. SOLD

This delightful circa-1890s cabinet card features a young Victorian girl posing beside her dark-coated pet dog. The dog sits obediently upon a tall wooden chair while the girl stands beside it, apparently resting one hand behind or against the chair. The girl wears a long, light-colored dress with a high ruffled neckline, full sleeves and lace-trimmed shoulders. Her hair is arranged in long curls secured with several small bows. She looks directly toward the photographer with a wonderfully natural expression. Her bright eyes and tightly controlled smile make it appear that she is trying to remain serious while holding back a laugh. That hint of suppressed amusement gives the portrait considerably more warmth and personality than the typically solemn Victorian studio photograph. The dog, possibly a terrier-type mixed breed, looks equally attentive as it faces the camera from its elevated position. The photographer may have placed the dog on the chair to bring its face closer to the child’s height and produce a more balanced composition. The mount is especially attractive and somewhat unusual. Rather than a plain or simply ruled border, it has a wide, continuous floral border composed of repeating daisy-like blossoms and small leaves. A narrow inner line further frames the photograph. This decorative treatment gives the cabinet card an almost picture-frame appearance. The photographer is unidentified, and the reverse is blank.  SOLD

This striking cabinet card shows a well-dressed gentleman posing in a Western studio setting at Palace Studio, Anaconda, Montana. He stands three-quarter length beside a painted garden balustrade, one gloved hand resting on a faux stone post. He wears a bowler/felt hat, a three-button sack coat over a matching vest, and striped trousers. A watch chain drapes neatly from his vest pocket. His prominent handlebar moustache, tidy collar, and composed posture give him the look of a professional or merchant who wanted to project steadiness and success. The neutral backdrop, classical urn, and stonework props are typical of late-1880s/1890s Western studios and frame his face and attire nicely. The heavy taupe mount is embossed “Palace Studio – Anaconda – Montana” along the bottom margin in handsome script. The Reverse is blank (no ID), with only light age toning and no album lift or writing. The cabinet card is in very good condition (see scans). The Palace Studio in Anaconda was operated by Winfield S. Hawes, listed in the Montana Historical Society’s Photographer Index as “Hawe’s Palace Studio,” with a number of locations noted.  The index also records that Hawes “started as apprentice under A. J. Dusseau.”  The same index shows Thomas J. White active in Anaconda as “Hawes and White” (circa 1889)—evidence of Hawes’s partnerships in town during the territorial/statehood transition years. Another partnership was noted when the studio was entitled, Hawes & Elliott. The date of this photo, based on mount style, clothing and the Palace Studios Imprint, is circa late 1880’s-1890’s. SOLD

This is a wonderful early theatrical photo postcard of Maude Adams as “Peter Pan”. She was photographed by the Otto Sarony Company (New York). The image shows Adams in a warm, smiling bust portrait. This is a terrific example of an American stage postcard from the great early Broadway era, made especially appealing by its connection to one of the most famous theatrical roles of the early 20th century. Maude Adams was one of the greatest stars of the American stage. She appeared in 29 different Broadway productions. Born in Salt Lake City in 1872, she began acting as a child and became a major Broadway attraction under the management of Charles Frohman. Her greatest fame came through her association with J. M. Barrie, appearing in several Barrie works including The Little Minister, Quality Street, What Every Woman Knows, A Kiss for Cinderella, and most famously Peter Pan. Adams first played Peter Pan on Broadway in 1905, and the role became inseparable from her public image in America. She reportedly performed the role more than 1,500 times, and at the height of her career she was among the most successful and highest-paid performers in the country. Several sources state that Barrie wrote the the character Peter Pan, with Maude Adams in mind.  Adams was also known for her intensely private personal life. She never married, avoided the publicity machine more than many stars of her rank, and later withdrew from regular stage work. After retirement she became involved in stage-lighting experimentation and theatrical technology, and later taught drama at Stephens College in Missouri. Her long life after Broadway adds to her fascination: she was not only a legendary actress, but also a thoughtful, technically curious artist whose career bridged 19th-century theatrical celebrity and the modern stage. The reverse identifies the card as part of the “Collection of Leading Artists of the American Stage.” The publisher was Darwin D. Silberer (New York). The card has an undivided-back format, placing it most likely around c. 1905–1907, which fits well with Adams’s early Broadway association with Peter Pan. (SOLD)

This rare risque vintage real photo postcard features a pretty young soubrette named Trude Dietrich. She is posed in a sexually provocative manner and smoking a cigarette. For those not familiar with the term; a soubrette is an actress that plays a lively, flirtatious role in a play or opera. Miss Dietrich was a minor actress so her postcards are rare.  (SOLD)

This vintage real photo postcard features a pretty young woman looking out a door and holding a handful of cash. In reality, she is not a woman, but instead, a transvestite. This lithographic postcard is part of a series called “Cabaret de Paris : Secret of the Boxes”. This series documents Paris’s transvestite performers. On the reverse of the postcard there is a credit for photographer, Thierry Diwo. Diwo (1958-2018) was a Cambodia based French photographer and publisher. He originally went to Cambodia in 1992 and he decided to stay. He married a Cambodian woman. Diwo was fascinated by the ruins of the great Khmer Empire and set out to publish photographs of them in books and on postcards. In 1994, he started a photography department at Royal University in Phnom Penh and he taught there three years. In 1997 he started a publishing company (Diwo Publisher) that produced postcards, books, posters, and photographs. After Diwo’s death, his wife continued to operate the company. SOLD

This striking real photo postcard captures a French soldier posing stoically beside a dramatic array of unexploded German aerial bombs, likely during or shortly after World War I. The photograph is a study in both scale and tension: the uniformed man, arms folded, cigarette nonchalantly tucked between his lips, stands shoulder to fin with three massive bombs—each labeled in white script with its weight: 100 kg, 50 kg, and 12 kg. I don’t think it was advisable to be smoking a cigarette near the explosive bombs, but what do I know?The caption below reads:”Bombes légères lancées par avions Allemands” (“Light bombs dropped by German airplanes”). The soldier wears the kepi and uniform of a French infantryman, marked with a unit number “62” on his hat and collar, and a military medal is pinned proudly to his chest. One source identifies the medals as being “The Croix de Guerre, the Bronze Star, the Bronze Laurel Branch. This soldier is highly decorated. His body language suggests a mixture of defiance and grim pride—likely meant to communicate France’s resilience in the face of aerial terror. The oversized bombs dominate the frame and serve as a powerful visual testament to the scale and threat of early 20th-century aerial warfare. One can imagine this postcard being distributed either as propaganda or as a souvenir.  (SOLD)